SAN FRANCISCO, CALIFORNIA (October 15, 2003) AUERBACH POLLOCK FRIEDLANDER, Performing Arts/Media Facilities Planning and Design, San Francisco, New York and Minneapolis, announce the completion of their work on the major renovation of the New York New York Hotel Casino Theatre. This newly transformed facility is the home of Zumanity, Another Side of Cirque du Soleil.

AUERBACH POLLOCK FRIEDLANDER were the theatre consultants for the project, collaborating with Marnell Corrao Associates, the MGM/Mirage Design Group and Cirque du Soleil on the design of the theatre renovation and the theatrical systems supporting the Zumanity production. The firm advised on all aspects of theatre design, from the room configuration, layout of public spaces and backstage support facilities, seating and audience circulation, to the detailed development of the technical systems, including the stage machinery and its rigging and automation, the theatrical lighting control and the sound, video and communications systems.

The space, formerly housing the New York New York Theatre, was taken back to the shell walls and a completely new theatre and lobby environment was created in its place. The creation of this new facility represents the complete conversion of the existing theatre space to the design and production requirements created by Cirque du Soleil. AUERBACH POLLOCK FRIEDLANDER brought Cirque's artistic requirements to reality by integrating the physical and technical criteria of the project with the architectural designs by Marnell Corrao Associates.

The firm developed the room configuration to the design direction of Cirque du Soleil's scenic designer, changing the theatre space from a traditional proscenium stage to a long projecting thrust stage with an intimate surrounding seating configuration. The new intimate seating accommodates 1,256 patrons within a unique audience environment, with different seating styles ranging from love seats for two to luxury bar stools at the drink rail.

AUERBACH POLLOCK FRIEDLANDER coordinated the integration of the theatrical systems infrastructure with the existing building infrastructure so that independent and reliable operation could be achieved. The firm also designed the theatrical systems, including the stage lifts, turntables, rotating pylons, sliding stages and overhead rigging of scenic and performer apparatus, in addition to the state of the art theatrical lighting control systems based on the criteria set by Cirque du Soleil's production lighting design staff. The sound video and communication systems design consists of the latest digital technology, responding to the requirements established by Cirque's production sound designer and his response to the Zumanity music score.

FACT SHEET: AUERBACH POLLOCK FRIEDLANDER

AUERBACH POLLOCK FRIEDLANDER recently completed work on the renovation of the New York New York Theatre in Las Vegas, Nevada for Zumanity, Another Side of Cirque du Soleil. All of the existing interior architecture, including the theatrical systems, seating, and infrastructure were completely demolished, leaving the shell of the space. The firm provided theatre design consulting services for this new venue, developing highly customized theatrical systems to support the production in collaboration with Marnell Corrao Associates, the MGM/Mirage Design Group and Cirque du Soleil creative staff.

Room Configuration

The room configuration was changed from a traditional proscenium stage to a long projecting thrust stage with an intimate surrounding seating configuration and a horseshoe-shaped balcony. The theatre was configured to the design direction of Cirque du Soleil's scenic designer.

• The existing ceiling was demolished and replaced with a structural grid over the entire seating area to support performer access and technical systems.
  
  
• The seating system, accommodating an audience of 1,256, was reconfigured to optimize sightlines for the new performance environment, considering close viewing distances and the aerial performance activities. Five different styles of seating were provided - from intimate two person love seats to luxury bar stools at the drink rail.
  
  
• The proscenium was reconfigured to Cirque's scenic treatment for the production and accommodates performance machinery, including a flying musicians' platform.
  
  
• New control booths were constructed to house the extensive physical requirements of automation, lighting, projection, and audio control systems.
  
  
• Backstage and auditorium trap rooms were also constructed; the deep thrust stage platform incorporates a variety of slipstages, lifts, turntables and pylons, all interconnected to the trap room.

Building Infrastructure

Successful integration of theatrical systems required coordination of building infrastructure to accommodate the latest technology. AUERBACH POLLOCK FRIEDLANDER coordinated the theatrical systems infrastructure with the traditional building infrastructure to achieve independent and reliable operation.

• New K-rated transformers were installed for lighting and audio power.
  
  
• The building structure was augmented to accommodate new machinery and rigging systems over the stage and audience.
  
  
• The HVAC system was replaced to handle increased heat loads and perform to more stringent acoustic criteria.
  
  
• New electrical company switches and equipment power were distributed throughout the theatre to simplify interconnection of show systems.
  
  
• A data and communications network was integrated for the highly advanced machinery automation system.
  
  
• The distribution infrastructure for audio and video systems was incorporated in complete isolation from other electrical systems.

Stage Machinery

A new thrust stage was designed to the scenic design specifications of the production, incorporating the machinery supporting the show's artistic requirements.

• A 21 foot diameter turntable in the center of the thrust stage is capable of high speed rotation.
  
  
• A 6 foot diameter, two stage pylon lift/ turntable is located within the main turntable. The lift extends to 10 feet above the stage from trap room level at very high speed. This unit is keyed to the main turntable rotation speed and position, and is capable of independent rotation as well.
  
  
• The center stage area incorporates a high speed slip stage that retracts within the floor, opening to the trap room below.
  
  
• Upstage of the turntable, a main stage lift operates at high speed, filling the center of the thrust stage area.
  
  
• Two flanking slip stages also open to the trap room and are filled with additional two high speed lifts.
  
  
• Traps were designed into the stage deck for performer and scenery access and also accommodate a show floor for Cirque du Soleil's tracked scenery.

Rigging and Automation

The fly tower was re-rigged with manual and counterweight assist linesets and working areas over the stage and audience were equipped to support motorized spot winches. All mechanized elements are controlled by a sophisticated machinery automation system.

• An automated computerized rigging and machinery control system manages the movement of all motorized devices.
  
  
• 54 axes of motion control in the theatre coordinate the movement of lifts, turntables, slip stages, overhead rigging, trapezes and moveable scenic elements.
  
  
• 29 variable speed hoists are mounted throughout the theatre for automated effects. These, along with counterweight assist winches, facilitate a wide variety of performer and scenic effects.
  
  
• The automation system is interconnected by Ethernet data network, enabling random location of operation from either of two control consoles or portable hand held remote controllers.
  

Lighting Control

New theatrical lighting control and distribution was also designed for the space and included:

• Ten racks of Strand SLD dimmer racks were installed. Two dimmer rooms were used to reduce long home runs.
  
  
• A distributed control network utilized Category 5 wire home runs to 41 available tap receptacles. Home runs terminate in patch panels that allow interconnection to 3-Com managed Ethernet switches. A fiber optic backbone joins the individual control rack Ethernet equipment. Twenty eight portable Ethernet to DMX nodes are available for connection to the network. 3-Com software is included in a local PC for overall network management purposes.
  
  
• The console selection includes two Strand 550i's, one Strand 520i, two Whole Hog III's, a full file server console back-up and console emulator and a Wi-Fi laptop console emulator. All devices run simultaneously on the network.
  
  
• Configuration of nodes and console commands are accomplished with a Wi-Fi equipped Compaq iPaq handheld PDA allowing remote control of command functions from anywhere in the theatre.
  
  
• A rack-mounted Strand 510 console provides processor power to drive architectural lighting and control stations, including slider/pushbutton stations, keyswitch worklight stations, and single button panic stations. Small AMX touch screen stations are utilized for architectural control in the Lobby.
  
  
• Larger AMX color screen touch stations are configured as stage manager's stations and include virtual pushbuttons and live color video feed of the main console cue sheet and stage cameras.
  
  
• Box sizes and configuration of circuit distribution devices are standardized to reduce overall inventory.

Sound Video and Communications

Extensive sound, video and production communication systems were designed for the space in close collaboration with Cirque du Soleil's audio staff and production sound designer

• Level Control Systems computer-controlled audio matrix and processing system in three sections: Front-of-House, stage monitoring and VRAS. The front-of-house system controls 144 sources into 96 matrix outputs. LCS is also used to control the stage monitoring system with an 88 x 48 matrix. Modular "Cue Console" control surfaces are used for sophisticated live mixing and routing control of the more than 160 microphones and other musical instruments and effects sources.
  
  
• A Level Control Systems Virtual Room Acoustics System (VRAS) is employed to enhance and augment room acoustics, providing real-time ability to alter reverberation time and delay characteristics as needed.
  
  
• 72 channels of Aphex remote-controlled microphone preamplifiers.
  
  
• More than 90 primary and surround loudspeaker systems by Meyer Sound (CQ and UPA series), Nexo (PS series) and EAW are located throughout the stage and auditorium.
  
  
• Effects processors by TC Electronics, Klark-Teknik, Aphex.
  
  
• 72-port Clear-Com Matrix-Plus-3 digital intercom system interconnected with a Clear-Com 72x8 analog matrix. 16 channels of Telex wireless intercom.
  
  
• MediaMatrix computer-controlled backstage monitoring and paging system.
  
  
• Extensive lobby playback systems using Tascam 2424 hard drive players and MediaMatrix computer control and routing systems feeding EV and HSS hypersonic directional special-effects loudspeakers.
  
  
• More than 13 production fixed focus and remote controllable color video cameras are routed through a modulated video system for monitoring of performers, musicians and critical backstage systems.
  
  
• FM Assisted-listening system for the hearing impaired.
  
  
• More than 100 device panels and wall plates are fed from an extensive analog and digital wiring infrastructure.

AUERBACH GLASOW Press Release