My Immortal Experience
By Lauren Trainor Sat, Dec 17, 2011
I have been asked to review and comment on my experience and impressions of “Michael Jackson: The Immortal by Cirque de Soleil.” It is daunting and a bit intimidating to attempt to relay information like this, because it is such an individual and personal response, but here goes.
I have not attended a Cirque show in the past and didn’t know what to expect, although I was aware that there would be a great deal of acrobatic interpretation as well as exquisite dancing because, well, the show revolved around Michael’s music. I must admit that anticipation was great, as my tickets were in full view for six months as a constant reminder that December would eventually arrive. I was fortunate to travel to Las Vegas with a good friend who left her snowy state to share this experience and enjoy a little California sunshine. We drove to Vegas and into rather frigid temps, at least for this daughter of Surf City; crowded, loud Las Vegas, with perhaps a copyright on people who know the definition of rude.
Aside from angry policemen, cold dinners, fees that compete with the airlines and closed Las Vegas Strip on the night of the show, the city is beautiful in a haphazard, piecemeal way. The Mandalay Bay Hotel shines gold in the sun; huge with tons of marble and the scent of money. It was exciting to see banners and marquees announcing the “Michael Jackson, The Immortal” opening, and brought pleasure to know that Michael’s family would be attending. We were scheduled to attend the Fan Fest on Sunday and the show that same evening.
I enjoyed the Fan Fest and, as usual, was drawn to Michael’s short films that played at every memory stop. My favorite sections were the Neverland exhibit, showcasing a go cart that transported visitors at Michael’s home; a glass display of once upon a time animated figures, including a dancing Michael, still now, but very poignant. Beautiful drawings and paintings from fans over the years, spoke to a reciprocal love as these gifts were faithfully squirreled away by their owner. It was moving to see various outfits and jackets that Michael wore on stage, including a gorgeous, never worn creation intended for “Earth Song” in the This Is It concert series. Even in reproduction on a small scale, Michael’s library felt like a warm invitation to settle in with a book and explore topics that appealed to a connoisseur of the written word. Inexplicably, the item that affected me the most was the white shirt that Michael wore in his short film, Ghosts. It was easy to visualize its movement and fit on the artist’s body; one heartbeat away from its owner’s presence… a wonderful nostalgia accompanied by an undeniable sadness and a wish to turn back time.
That night, we entered an arena glowing with a soft blue light, very excited and filled with anticipation. People of varying ages, cultures, race and persuasions surrounded us with happy faces, and an obvious intention to honor and celebrate an artistic genius and an extraordinary person. One has to experience this homage to Michael to understand how faithful his friends were in capturing his essence in the spectacle and grandeur that his music demands. I loved the opening with the ever present Mime introducing us to a familiar image of Michael in an iconic pose….stirring and emotional as that image slowly crumbled and multiple facets of his artistic life burst through the screen and poured into the arena; a clear reminder of the complexity and enormity of his gifts and life’s work.
Jamie King was given access to all of Michael’s original masters and chose to highlight that voice as a live band reproduced the music, re-mixed and re-interpreted brilliantly. I recognized Jonathon Moffett on drums, doing what he does best; accompanying his old boss with his ageless talent. I loved “I Just Can’t Stop Loving You”, as a pair of Cirque performers danced in air with stunning grace. The power and message in “They Don’t Care About Us” moved bodies in seats, and revisited an appreciation for Michael’s connection and dedication to the voiceless among us. Michael’s later work was not ignored; “Is It Scary” and “Threatened” pounded and throbbed with a pain and intensity that grabs you and holds on tight. The dancers were wonderful, “Billie Jean” joyful, Michael’s young voice haunting in “I’ll Be There” as the spectacle continued to expose and celebrate its creator. Michael, the caring, human being was present with all his wonder and love wrapped up in this beautiful production. I imagine that the man himself would absolutely love the pageantry and show stopping talent. In my mind, I envisioned him there and felt his presence in a deeper, personal space.
There is much more; a brief hologram, wondrous acrobats, comedy and joy, intensity and whimsy, and behind, above and surrounding it all was the music and the man who resides there, still. Amazing!
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A Very "Immortal" Experience
By Valmai Owens Sat, Dec 17, 2011
“…silence is my real dance, though it never moves. It stands aside, my choreographer of grace, and blesses each finger and toe.” MJJ
What can be said about “Michael Jackson: The Immortal, by Cirque de Soleil” that hasn’t already been said? Apparently plenty, because reviews are still being offered by everyone from critics to fans or anyone it seems, with an opinion. Negative or positive, “Immortal” is a talking point for many people including those who have not yet seen it, but still want to offer their critique of what is being heralded as the greatest and most dazzling tribute to Michael, ever! I am puzzled as to why anyone would see this show in a negative light—perhaps because it’s about, and for, Michael Jackson?
I have never seen a Vegas show, I have never seen a Cirque spectacular, nor have I seen a live tribute to Michael on such a large scale, but I had the opportunity recently in Las Vegas, to see all three at the same time. That in itself was a whole new experience for me, but I didn’t attend the show with an eye to criticize or look for fault so I could write a negative or really any sort of review on it, I went to enjoy two hours of non-stop music, dance and all that a Cirque show is famous for. I was not disappointed in what these amazing performers, musicians and production crew brought to the stage.
Michael said, “Kenny, if we do our jobs right, people should leave the arena and not be able to turn this off.”
My personal bias aside, I would have sat through the show regardless, in awe of the sheer magnitude of talent upon the stage. It was a visual explosion of many genres of dance that merged seamlessly with acrobats, aerialists, pole dancers—and a very flexible contortionist who did things with her body I never thought were possible—all perfectly synced and beautifully choreographed to Michael’s most beloved and signature songs.
But then, there were the musicians and singers, some of who had worked and toured with Michael during his glory days and his reflective, quieter periods of of creativity. They were the beat and energy that lifted and carried us throughout the entire performance, drawing us into the heart and rhythm of Michael’s God given gift. I watched Jonathan Moffett do what he does best and felt the intensity flowing from him—a tangible force that found its echo in the past—he was playing with, and for his friend, once again, and as my heart beat in perfect time to the bass and Jonathan’s unique drum style, I got a taste of the excitement and fervor of what attending one of Michael’s concerts would be like. Understanding this would be as close as I would get to the real thing, I embraced and absorbed every moment, every detail and every sound, walking away at the end unable to turn off the powerful impact it had had upon my senses. “Immortal” did it just right!
I did feel sadness in Michael’s absence from the stage. How could I not. He should have been there doing what he loved best, bringing happiness to his audience through music and dance, and creating his own particular magic that transcends time immemorial. But as bittersweet as my feelings were in watching “Immortal”, I felt a sense of Michael’s presence there, and imagined him upon the stage dancing and singing in the sheer joy of existing too perform. I also felt honored to be able to witness the dedication, respect and love that have gone into this production from all involved. It truly is a tribute fit for the “King”, one inspired for and by him, and it should be given the thanks and credit it so truly deserves.
From the Mime—the nameless, faceless mute who is the common thread connecting the audience to the central theme of the show, Michael and his artistic genius, to the standard arrangements, remixes and mash-ups of his songs, all wonderfully mastered and reinterpreted, Michael’s message and creative brilliance is prevalent throughout. He continues to bring us together through “Immortal”, and the show gave me a feeling of privilege of having been touched by this extraordinary and unique man.
My special thanks go to the creators of “Immortal” for their artistic vision and beautiful concept, and to the multi-talented performers and crew who brought this vision live to the stage. You have all done Michael proud!
http://www.youtube.com/watch?v=OiXx_uzvU_c
Photographs: http://www.cirquedusoleil.com/en/shows/michael-jackson-tour/videos-extras/photos.aspx
Tina Patel | tina_patel Just went backstage at @Cirque's MJ Immortal show. Tune into @KTNV tomorrow to see how they pay tribute to Michael.http://www.dailymail.co.uk/tvshowbi...l-Jackson-extravaganza.html?ito=feeds-newsxml[h=1]Brad Pitt and Angelina Jolie hit Sin City to treat children to Cirque du Soleil's Michael Jackson extravaganza[/h]By AMELIA PROUD
Last updated at 8:29 AM on 18th December 2011
Of all the places in the world to spy Angelina Jolie, Brad Pitt and their brood, Las Vegas is probably one of the least likely.
Brad, 47 , has an affinity with the Nevada playground, after filming the Oceans films there with his friend George Clooney, 50 , but it's not the kind of place to take the family.
Until tonight, that is, because Brad and his beautiful 36-year-old partner were spotted in the Mandalay Bay Resort and Casino for all to see.
Family night out: Brad Pitt, Angelina Jolie and Maddox, Pax, Zahara and Shiloh arrived at the Mandalay Bay Resort and Casino tonightSadly they weren't wielding a champagne bottle fresh from a wedding chapel but instead rather adorably braving Sin City to treat their four eldest children to a musical extravaganza.
Ten-year-old Maddox, Pax, seven , Zahara, six, and five-year-old Shiloh were all present as the family headed to the show which celebrates the work of the late Michael Jackson.
Michael Jackson: The Immortal World Tour is the official theatrical production by Cirque du Soleil which uses the music and vision of Michael Jackson along with Cirque du Soleil's signature acrobatic performance style to create a realistic concert experience.
Dressed up: The family looked smart for their evening together, daughter Shiloh stuck to her masculine attire while Zahara was feminine
Get ready: The clan prepare to see the critically acclaimed showThe arena show, which is very similar to a rock concert, began its tour October 2, 2011.
After touring North America for about two years, it will continue on to Europe and the rest of the world.
At the point in time it leaves North America, a resident show, which will be more theatrical in nature, will open in early 2013 at the Mandalay Bay Resort and Casino located in Las Vegas, Nevada.
In addition to the resident show at the Mandalay Bay, Cirque du Soleil will also be opening up a Michael Jackson-inspired lounge.
The Michael Jackson estate has partnered with Cirque du Soleil in order to create this concert experience. As part of the $250 million contract with Sony allowing music publishing until 2017, an album was produced.
The concert is currently the number one concert in the world according to ticket sales
since many of Jackson’s songs are so inextricably linked to his iconic choreography and storytelling. It also makes sense to utilize the jumbo screens (which aren’t part of Love), as Jackson was the defining visual artist of an era and pioneered the medium of short films.
ANGELINA JOLIE & BRAD PITTVegas, Babies, Vegas!!!
Angelina Jolie, Brad Pitt, and all of their various children hit up "Michael Jackson: The Immortal World Tour" in Las Vegas last night.
Perhaps the tix were a birthday gift ... Brad turns 48 today.
source : tmz
** Some people complained the music were too loud!
Memefan;3561607 said:Open Response to the Los Angeles Times’ Review of Cirque’s Michael Jackson Immortal
by Joe Vogel (Author of Man in the Music: The Creative Life and Work of Michae Jackson)
The Los Angeles Times’ review of Cirque du Soleil’s Michael Jackson Immortal certainly made clear pop music critic Randall Roberts’ own preconceptions, though at the expense of accuracy and fairness.
Roberts’ disdainful assessment follows a standard pre-2009 template for reviews of Michael Jackson’s work. It includes the requisite moralizing about Jackson’s personal life (what Jackson buying “gaudy vases” in Martin Bashir’s infamous 2003 documentary has to do with the show is anyone’s guess); the unhelpful comparisons (wouldn’t one expect an MJ show to be a bit different than the Beatles?); the uninformed dismissal of his later, more socially conscious work; and a generally condescending tone. Unfortunately, this formula, which the Timeschose to follow, is the easy way out and doesn’t do justice to the artist or the show.
Indeed, Roberts can’t seem to find a single element of the production worthy of praise. What about the miraculous voice on display, pulled from Jackson’s original, multi-track master recordings? Jackson possessed one of the most unique and versatile voices of the 20th century. Immortal allows the audience to hear it—from the plaintive purity of “I’ll Be There” to the rhythmic virtuosity of “Workin’ Day and Night” to the powerful call and response of “Earth Song”—with a palpable energy and immediacy. Having attended the show in Detroit and Las Vegas, I can say that the aural experience alone is worth the price of admission.
Supplementing Jackson’s vocals is a world-class live band, led by Jackson’s long-time collaborator and music director, Greg Phillinganes. Roberts suggests the band’s role is “vague” because of their placement on a riser behind the projection screens. Where should they have been placed? Center stage? The idea is to hearthe band as we watch the visual spectacle that is Cirque.
Roberts makes frequent comparisons to Cirque’s acclaimed Beatles production,Love, which makes some sense given Jackson and the Beatles’ respective places in the pop pantheon. What makes less sense is the expectation that Immortal simply be a cloned version of Love. After all, there are fundamental differences between the artists themselves. Firstly, Michael Jackson was a dancer. Dancing was central to his artistic identity and his performances. It makes sense, then, to highlight that (meaning more use of “horizontal space”
Likewise, there are important distinctions in the makeup of the shows. Love is not a traveling “tour” like Immortal, which premiered in Montreal, and is making a brief stop in Las Vegas, before hitting the road again in North America and beyond. An entirely new show will settle into its permanent residence at Mandalay Bay in 2013 (taking the place of The Lion King), at which time it will have the additional benefits of being in one arena. Given its current portable nature, however, it is remarkable what director of creation, Chantel Tremblay (who also worked on Love), and set designer, Mark Fisher, are able to accomplish. It is also impressive how the production has been streamlined, tweaked and tightened since its premier in Montreal, reducing much of the slapstick and filler and keeping the focus where it should be: on Michael Jackson.
Such context is missing throughout the Times’ review. At one point, Roberts asks: “How can you justify giving more time and creative energy to ‘Man in the Mirror’ and ‘Earth Song’ in a Michael Jackson show than to ‘Beat It’ or ‘Thriller’? The answer is pretty simple. Songs like “Earth Song” and “Man in the Mirror” were important to Jackson. They are crucial to his essence. Both songs were expected to be central to his planned This Is It concert series in London. Indeed, “Earth Song” was the last song Jackson rehearsed before his tragic death.
The fact that director/writer Jamie King recognized the significance of such tracks and was willing to pick other less-known songs based on substance rather than popularity enhances rather than diminishes Jackson as an artist and the experienceImmortal provides. In any case, it is not as if classics like “Thriller” and “Beat It” don’t get time. The “Thriller” mash-up with “Is It Scary” and “Threatened” is one of the highlights of the show.
Perhaps the most blatant inaccuracy in Roberts’ piece was the crowd response, which he described as blasé and “uninterested.” To the contrary, the sold-out crowd was enthusiastic throughout and gave the show a standing ovation. It was praised effusively by those close to Jackson, including the singer’s children and siblings (the latter of whom haven’t always been keen about projects generated by the Estate). It also managed to impress Motown founder, Berry Gordy, who saw the show for the first time in Las Vegas, and in a response passed on to me, said:
“The show exceeded my expectations, capturing Michael’s music, spirit, artistry and even his yearnings–what he would have wanted to do in the future. He loved Cirque du Soleil, the magic, the beautiful costumes and the story telling. He would have loved this show.”
High praise indeed coming from someone who knows a thing or two about entertainment—and Michael Jackson.
Joseph Vogel is the author of three books, including the recently released, Man in the Music: The Creative Life and Work of Michael Jackson (Sterling, New York 2011).
http://www.joevogel.net/open-respon...es-review-of-cirques-michael-jackson-immortal
