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Cirque du Soleil 'Michael Jackson ONE' permanent Las Vegas show

Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

^^^^^Nice angles! Next time I fly into Vegas, I'll snap one from the air.
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

jamie-king-joe-vogel.jpg

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nice shirt, Greg
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Vegas Morning Blend TV interview with Travis Payne:
http://www.vegasmorningblend.com/videos/219302081.html

http://mjbliss.blogspot.com/2013/09/magical-mj-one.html
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

is Travis wearing makeup?
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

jaydom7 said:
is Travis wearing makeup?
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No, I was very close to him, especially after the show when he signed my program. He leaned in and looked me right in the eye... you know how some people can do that and just look right through you? Gosh, he is handsome.

Anyway! No, he was not wearing makeup but he was sweating very much. He was totally surrounded for a while, and wearing a long coat. His managers had to pass him some tissues to help him.

Lark
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

Who is that guy holding Travis so tight? Is he a writer?
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

wish this show came to England.. I wanna see Michael's CGI Hologram.. #NotFair.
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

the reviews for this show have been amazing
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

Petrarose said:
Who is that guy holding Travis so tight? Is he a writer?
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The one on this page above. It is the only one with Travis and a guy.
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

The bald guy with the beard and the one with the black jacket and hat are choreographers Rich & Tone Talauega

Lark
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

Yes the one with the beard with his hand on Travis shoulder. There is no guy with a hat holding Travis. Are you saying the guy with the beard is Rich?
 
some more pics posted on facebook page

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The King of Pop Fanatics International Fan Club celebrate Michael's 55th birthday at the Michael Jackson One show at Mandalay Bay on 8-29-2013 and at Hussongs Restaurant & Cantina for a after show dinner celebration!!! We had a blast celebrating Michael's legacy!!!!! — with Dexter Paul Plowden and 5 others.










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Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

Petrarose said:
Yes the one with the beard with his hand on Travis shoulder. There is no guy with a hat holding Travis. Are you saying the guy with the beard is Rich?
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LOL Yes. Sorry I just meant that they are both Choreographers. Yes, I believe he is Rich, and Tone is with Greg.

Bluesky are any of those pics yours? I saw both those girls with Travis around that night, they were so nice. One of them took a picture of me with Michael's poster.

Lark
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

bluesky said:
some more pics posted on facebook page

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Man in the back: looks so grumpy! :hysterical: I felt bad for keeping him, he really wanted to leave but Travis was stuck with fans.

Lark
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

Hey I did not see the Mickey Mouse, flip flops, or the Peter Pan.^^

Those few trees in the photo^^ look so lonely. I told a local that they need to plant some more trees. He said they don't have water and the sun dries up the trees. Maybe we should plant some trees or a shrub in Michael's memory there. I won't be surprised if they only had 100 trees in Vegas (just kidding maybe 101).
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

Petra, mickey mouse probably his own stuff. the others part of the VIP gift bag at the premiere.
read the tweet under the pic!
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

bluesky said:
Petra, mickey mouse probably his own stuff. the others part of the VIP gift bag at the premiere.
read the tweet under the pic!
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Oh I see!!! I already began wondering if the estate decided on the mickey mouse because Michael liked Mickey mouse. It is a good thing you stopped me.
 
I got the following from mysterychick from LSA..

Kevin Hughes‏@Popprince8h
Showcasing his solo career & feat 3D hologram MJ dancing-the new @Cirque "Michael JacksonOne" show is truly stunning pic.twitter.com/Q8JiXVaxrB

Dayna Roselli‏@DaynaRoselli9h
Sighting: @jtimberlake at Michael Jackson ONE @Cirque at @MandalayBay tonight. #Vegas#MJOne

Gregorio Larrazabal‏@GoyYLarrazabal10h
Cirque du Soleil ONE. A MUST for every Michael Jackson fan. I don't know where to start to describe… http://instagram.com/p/eYxFRSlT37/

RJ Colston‏@rjlcolston16 Sep
The theater is crazy! @ Cirque Du Soleil Michael Jackson One http://instagram.com/p/eWRsLkxo0b/

Yes I snuck this, lol @ Cirque Du Soleil Michael Jackson One http://instagram.com/p/eWc_9Mxo9d/

Kevin Hughes‏@Popprince16 Sep
Vegas-at the world's only Michael Jackson store at Mandalay- Cirque Du Soleil's ONE. Had to buy@SpikeLee Bad 25 DVD. pic.twitter.com/Z9Nm7TS4SC

Michael Jackson ONE by Cirque Du Soleil was AWESOME! #MichaelJackson #Vegas #Cirque#theater… http://instagram.com/p/eVCihgKdwo/

Ready for @Cirque #MJone @MandalayBay. PHOTO pic.twitter.com/F1BhVcmADN

Michelle‏@MichelleR_72316 SepFinally got to see the @Cirque #MJONE show this weekend...absolutely loved it!! Definitely worth the wait!

Natalie Henry‏@itsnatalieebaby15 Sep
Just saw #MJONE by @Cirque last night in Vegas and it was incredible. Uhmmm can I meet the character wink? You're beyond amazing��

Robin Leach‏@Robin_Leach8h
#JustinTimberlake ahead of Runner Runner movie premiere @phvegas & IHeart Radio festival at Michael Jackson 1 show tonight in MandalayBay

Norm Clarke‏@Norm_Clarke8h
Justin Timberlake took in Michael Jackson ONE @ Mandalay Bay tnite. He's being honored at iHeart Radio Festival this weekend. #vegas #lvrj

IncognetoAP‏@snafuAP11h
Justin Timberlake just sat behind us at the Michael Jackson show at Mandalay Bay!

Abed Nader‏@abednaderbc6h
What a night! @Cirque @MandalayBay MJ ONE was fantastic. It's a must see when you come to#Vegas. Tomorrow is Sir Elton @CaesarsPalace

Ericka Aviles‏@erickaaviles10hThank you @Cirque @MandalayBay for MJ's #One! #goosebumps#bravo!

Mr. Mike‏@TwistedMD30 Aug
All hail the king... #MJ #Vegas2013 #Mandalaybay @ Las Vegashttp://instagram.com/p/dpZSoRooQ0/
 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

dam2040 said:
Awesome!! Was it in good quality?
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It was something similar to this:

http://www.youtube.com/watch?v=cGi2Sz00XGc

Yes it was in great quality, I first thought it was Wembley footage, but then I noticed the stage didn't have the stairs behind him, it was the american stage and I saw different footage from the video above. They mixed it with the Munich 97 performance. It was just a couple of minutes, then they took out the video and the dancers came in with the LED costumes, which was AWESOME!!! It reminded me of the This Is It tour.
 
One Singular Sensation: Michael Jackson ONE, Part 1: A New Venue

Ellen Lampert-Greaux


Sep 19, 2013


Cirque Du Soleil celebrates The King Of Pop In Michael Jackson One with a renovated Venue.



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Cirque Du Soleil's Michael Jackson ONE





Michael Jackson is in the house, or at least he’s in the theatre at Mandalay Bay in Las Vegas, where Cirque du Soleil’s latest resident show celebrates the King of Pop in a new immersive musical experience, Michael Jackson ONE™, which opened during the summer, was written and directed by Jamie King, with sets and props by François Séguin, costumes by Zaldy Goco, projections by Raymond St-Jean and Jimmy Lakatos, sound by Jonathan Deans, lighting by David Finn, and a special “Man In The Mirror” Pepper’s ghost sequence designed by Michael Lemieux and Victor Pilon.

The Mandalay Bay theatre was renovated à la Cirque du Soleil by architect Troy Moser in collaboration with theatre consultants Auerbach Pollock Friedlander, whose first step was to improve sightlines. “Our work improved egress paths and ADA accommodations,” explains Len Auerbach, principal-in-charge. “Integration of overhead technical areas required modification of the audience area ceilings, reconfiguring and lowering of the forestage grid, and performer acrobatic catwalks. We developed the integrated torm, designed new lighting and sound positions, and coordinated the sidewall video screens with the acoustic treatment.” Jaffe Holden served as acoustic consultants.

The stage is equipped with three major lifts and five high-speed pop-lifts in the forestage area, which can launch a performer 6' above the stage level. Mechanization over the audience includes tracks and trolleys plus a variety of hoists. The track, trolleys, and pop-lifts were provided by Stage Technologies, and the main stage lifts, with Serapid drives, were provided by Handling Specialties. Stage Technologies also provided the automation system.

“The Michael Jackson ONE venue is our seventh Cirque du Soleil project, and each time we have been challenged by the unique concepts of an innovative and technically savvy client,” adds Auerbach. “All of the show concepts have tested us in different ways. That’s what makes me so enthusiastic to collaborate with Cirque du Soleil.”


http://m.livedesignonline.com/cirqu...ensation-michael-jackson-one-part-1-new-venue



 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

^As tempted as I am, I plan to go next summer so I'll wait and keep the surprise!
 
[h=1]One Singular Sensation: Michael Jackson ONE, Part 2: Sound Design[/h]Ellen Lampert-Greaux


Sep 20, 2013


Jonathan Deans designs sound for Michael Jackson One.




A veteran sound designer for Cirque du Soleil, Jonathan Deans listened to the songs and watched the images to bring the experience of Michael Jackson’s music videos to the stage for Michael Jackson ONE™ at Mandalay Bay in Las Vegas.

“The show is Michael’s music and dance moves, with Cirque du Soleil elements to add a twist to it,” says Deans, who went to numerous concerts to refresh himself with concert sound, as his goal was to “recreate the feeling of going to a concert, not a showroom or a theatre. Most people remember seeing Michael on video or if they were lucky enough to see him in concert.”

Having designed The Beatles Love for Cirque du Soleil, Deans notes that was like being “in the studio with The Beatles or inside their heads, but for Michael Jackson, it’s as if you were on stage with him. Even in the studio, he performed on a raised platform while he was recording. For his solo tracks, you hear his energy, as if he were live on stage. The saving grace of Michael Jackson was Michael Jackson,” adds Deans, who set out to capture that energy. “It’s as if the audience captures it as well and as if they had a live Michael Jackson experience, as close to a concert as you can get without him being there.”

Deans recalls seeing Jackson perform in Australia. “He was so captivating,” he says. “It was mesmerizing—his energy, his style. I have massive respect for that kind of performer, the music, the legacy.” In recreating Jackson’s signature sound, Deans had to respect the demographics of the audience, from five to 95 years old. “I had to be careful of the sound levels. How loud is too loud? From Cirque’s side, too loud; from the rock side, not loud enough—it’s a delicate balance.”

Yet the show is in a theatre, not a stadium or an arena, so Deans found “there has to be theatrical dynamics for an audience that is captive for 90 minutes and the proper environment level-wise, and we have to respect how much a person can take physically and legally. You want them to leave on a high, not as if they spent 90 minutes in the ring with Mike Tyson pounding on their ears.”

In Love, Deans had George Martin to approve the finite mix, and the remaining band members to confirm its accuracy. Yet he notes, “With this show, we could carry on playing with it forever—so many more multi-tracks. The only limitation was that Michael wasn’t there to say, ‘Yes, that’s how it should be.’”

Deans placed three speakers in each seat—5,412 custom left-center-right speakers divided into 24 zones—like he did at Love, but this time, his goal was “to help create an arena kind of feel, rather than an in-your-head sound. In addition to speakers in the seats, there is a very large surround system on the walls of the theatre,” he notes.

A total of 175 Meyer Sound loudspeakers include 16 Galileo 616 processors for system control, 24 Micas for left-right array, 38 JM-1Ps for the center cluster, and 12 1100-LFC low-frequency control elements. The FOH console is a Meyer Sound D-Mitri digital audio platform, with 120 inputs and 120 outputs at 96kHz, all connected digitally on a fiber-optic Optocore backbone. Solotech provided the gear and installation, and the system is cared for by Cirque du Soleil’s audio head Aaron Beck and his crew.

The Meyer Constellation system with 41 microphones and 144 speakers is used to create 17 user presets with maximum room reverb time of 4.5 seconds. “Constellation is used very heavily to create the concert feel, and the space and depth and dynamics of the music and the room itself,” explains Deans. “When the audience applauds and cheers, it sounds as if they are in an arena. This is a concert-style performance, so you believe that’s where you are. We wanted to enhance the concert experience, recreate a concert atmosphere in a theatre, which is more complicated than concert sound. In my world, I don’t want to make sound simply loud enough to be heard. There has to be other motivation for it.”

Playback is via MOTU Digital Performer 8 on dual Apple Mac Pros with RMEHDSPe MADI FX PCI Express cards running 64 channels each. “Musical director Kevin Antunes would make a mix in the control room and bring it into the theatre, and we would collectively listen to it,” says Deans, who worked closely with playback engineer Glenn Erwin and associate sound designer Brian Hsieh. “Most of the mix elements and movement were done in DP, then fed to the Meyer LCS system to take over and extend it further.”

Everything is playback, with just two live performers, a female singer and a female guitarist. “The singer is generally flying in the air; she never sings on the deck,” explains Deans. “The guitarist is on stage. Both are incredible. The guitarist worked with Michael Jackson’s guitarist for an authentic sound. In fact, she is so good that people thought she was miming, so she changes a few things to let people know she’s live.”



 
One Singular Sensation: Michael Jackson ONE, Part 3: Lighting Design

Ellen Lampert-Greaux


Sep 20, 2013


David Finn ‘s lighting for Cirque Du Soleil’s Michael Jackson One.




“Our mandate was to create a theatrical performance,” says David Finn of the lighting design for Michael Jackson ONE™ at Mandalay Bay in Las Vegas. “Jamie King had just finished the touring version of Michael Jackson: The Immortal World Tour, which was a true concert-style performance, and both he and [Cirque du Soleil founder and CEO] Guy Laliberté were keen to create a piece that had a theatrical arc story-wise, musically, and visually. Jamie comes from the pop world, so I knew I had to have rock ‘n’ roll elements in the plot.” So Finn went for the flexibility of a repertory theatre plot, along with arrays of fixtures in key positions that could fill the space with stunning visuals. PRG, A.C.T Lighting, 4Wall Entertainment Lighting, Solotech, and Entertainment Lighting Services provided the gear.

More than 100 Clay Paky Alpha 1500 Profiles are the primary rep fixture in the plot. “We filled the Alphas with probably one of the largest gobo catalogs ever used in one show,” notes Finn, adding that “the Alphas fill the space—FOH, cats, box booms, over forestage, on all four electrics, and on a boom set-up that includes a 20'+ high number one boom that rolls on and offstage as we wanted to have it fully exposed for some of the more rock sections of the show.”

Clay Paky’s Sharpy was Finn’s choice for key placement for rock ‘n’ roll arrays. “We lined them up on four flying ladders at the rear of the space, as well as fill the number one electric and booms with them, essentially building a grid that could fill the proscenium opening,” he explains. “We finished by placing them in a forestage trough and two niches left and right, cut into the side stages that wrap into the house. These units provide great air looks and act beautifully for forestage shins. We filled out the overheads with 18 Alpha Wash 1200s that were picked up from another Cirque show.”

Martin Professional Atomic strobes with Atomic Color scrollers are used for accents and effects, with the Rosco Miro Cube fixture for set integration. Finn calls them “punchy, small, and compact—a 4" cube with great dimming, great color with RGBW.”

Assistant lighting designer and project manager Josh Hind coordinated the plot and equipment, as well as designed positions and supervised the theatre’s renovation. “I would be remiss if I didn’t mention the lighting cue count,” says Hind, “which, when I left the theatre, was at 13,551. Our programmer, Benny Kirkham—who was, coincidentally, the Vari-Lite programmer for Michael Jackson in the '90s—says this is probably the most complex programming ever done on the [MA Lighting] grandMA. Having watched the whole process, I’m inclined to agree. The LEDs in the custom costume and set element programming represent about six months of work that ran concurrently to the programming of the main show. So, when we mention that we had over 7,000 LEDs, we feel like we’ve earned the right to brag a bit. Because of the complexity of the pieces, we ended up programming most of those 7,000 individually.”

The lighting adds to the emotion of the show in a big way. “Judging by our audience reactions every night, whether they notice the lighting or they don’t, I think we help to make the ride a thrilling one,” says Finn. “The performers are spectacular, which means that it is impossible to upstage them. We could push every moment, and we did.”

In terms of collaboration with the video team, Finn points out, “There really is no choice but to find yourselves on the same page ultimately. We took turns taking the lead on various numbers, and we all adapted to the looks that were clearly looking great,” he explains. “Some of the numbers had basic video content well before we entered the theatre. This allowed me to prep my looks and palettes accordingly. It was a true give-and-take process. If you are working with consummate theatre professionals, everyone has the ultimate goal of making the moment fit to concept, direction, and staging.”




 
[h=1]One Singular Sensation: Michael Jackson ONE, Part 4: Projection Design[/h]Natalie Robin


Sep 20, 2013


Cirque Du Soleil teams with designers Raymond St-Jean and Jimmy Lakatos for projections for Michael Jackson One.




The video design took a large team of talented designers working extremely quickly for Michael Jackson ONE™ at Mandalay Bay in Las Vegas. Longtime collaborators Raymond St-Jean and Jimmy Lakatos led the team, which needed to roll with the punches while creating complicated and riveting imagery. While Lakatos considers his purview to be “video scenography,” St-Jean designs the images and graphic language of the piece. “My skill is more to make sure the integration of the content will be efficient,” Lakatos says. St-Jean and Lakatos brought in collaborators at Fly Studio, including Jean-François Talbot, to generate the actual imagery and content.

When they came on board, St-Jean and Lakatos worked with set designer Francois Séguin, who had already designed a lot of black surfaces and, as Lakatos says, “that was the first thing we needed to rethink.” Because the show was to be created with projectors (rather than LED scenery), the designers had to keep contrast ratio in mind throughout the process. Lakatos explains that LED walls have other problems. “In 2006 or '07, we did Justin Timberlake’s FutureSex/LoveShow tour. When we met Justin, he told us he didn’t want to use an LED screen because it was too powerful. He wanted something more subtle so that he could be the main character of the show.”

Lakatos considers working with projection as a more “feminine” approach. “More and more, you need to discuss a lot with the lighting designer so that light doesn’t ‘destroy’ the image,” he says. “David Finn is a marvelous lighting designer who really understands well how to work with us.” The idea, of course, is to maintain both the project image and the mood evoked by the light without having to sacrifice either. In ONE, there is an LED screen that had been purchased for Cirque’s recently closed Viva Elvis, but it is dimmed for much of the show.

The original design of ONE was meant to “evoke the presence of Michael,” but both the Jackson estate and the creators of Cirque du Soleil really felt that there needed to be a more palpable presence of Michael. From the beginning, the end of the piece was meant to culminate in a Pepper’s ghost effect, which would conjure Jackson dancing with the live performers onstage. But eventually, footage from Jackson’s videos also became part of the video design of ONE.

As ideas developed, Lakatos and St-Jean worked with words and images to create the visual language of the piece with King. Then they worked with 2D illustrators and guided them through many images. As St-Jean explains, “Once we get the image that is pretty close to what we want, we take the illustration to the 3D animators to do modeling. We cannot start 3D animation without being sure of what we want to do.” Because the whole show was set to Jackson’s music, the design could be timecoded, which made it easier for the motion-graphic animators.

According to St-Jean, they had to “find ways to integrate [Michael] into numbers.” The original design for “Smooth Criminal,” for example, had 3D animations of buildings with just a silhouette of Michael, but the team ended up using the original music video imagery in the onstage “billboards” in projected scenery. They had to figure out ways to put Michael into the existing edit as though it was planned. Says Lakatos, “Our goal was making sure that the content could be integrated into our scenery.”

The projection and video team uses various projectors from Christie: 16 Roadster HD20Ks, six HD6K-Ms, and three HD10K-Ms; a Roadster HD20K and a Roadie HD35K for specials, along with the Daktronics LED wall, five Samsung LED flat-screen TVs, and seven other LCD TVs. The system runs via 12 VYV Photon media servers controlled by a VYV controller. Lakatos is a big fan of the VYV system, which he first used on the Timberlake show and allows him to use realtime 3D mapping. He calls it his “realtime paint box—just amazing—able to do anything you want.”

They also collaborated with video designer Dago Gonzalez, and Lemieux and Pilon, who created the Pepper’s ghost effect. Technomedia Solutions provided the gear, with Andrew Atienza as project manager.



 
Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

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Re: Cirque du Soleil "Michael Jackson ONE" permanent Las Vega show

It's interesting that these articles (accurately) talk about the 'Peppers Ghost' effect, rather than discussing holograms.
When Tupac appeared at Coachella the world was ranting and raving about the 'Tupac hologram' which actually used the Peppers Ghost method - a method used since in UK theatres since the Victorian era (AFAIK) - not a hologram at all.
 
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