Auerbach Pollock Friedlander provided theatre consulting services for the newly renovated MGM Grand Theatre, featuring the production KÀ, Cirque du Soleil’s fourth permanent venue in Las Vegas. The firm collaborated with Cirque du Soleil, the MGM/Mirage Design Group and Marnell Corrao Associates in the implementation of Cirque du Soleil’s design of the space and the development of theatrical systems to support the production.

Room Configuration

The theatre configuration was changed by Cirque du Soleil’s designers from a cabaret type space, with booths and chairs around small tables, to a spectacular room where the audience sits within the world of the performance. The show takes place within a 50’ deep cavity filled with moving scenic elements and the performance extends beyond the stage into the audience volume, creating total integration of audience, performers and theatrical technology. From the first moments the audience enters they are transported to the magical world of Cirque du Soleil.

• Technical catwalks and grid decking over the seating area support performer access, lighting systems and technical systems required in the front of house area.

• Reconfiguration of the seating system conceived by Cirque du Soleil, for an audience of 1,951 optimize sightlines for the performance environment.

• The control booths were reconfigured to fulfill the extensive requirements of automation, lighting, projection and audio controls. The control suite contains a total of 2,850 sq/ft of booth space and 170 linear feet of glass and overviews the entire performance space.

• The entire floor area of the previous stage was completely removed, creating an “abyss.” In this void five stage lifts were installed providing a total of 4,950 sq/ft of completely flexible staging area. These stage lifts enable flexibility of stage floor elevation, scenery motion and special effects control.

Building Infrastructure

Successful integration of theatrical systems required coordination of building infrastructure to accommodate the latest technology. Auerbach Pollock Friedlander developed criteria and coordinated the theatrical systems infrastructure within the building to achieve independent and reliable operation.

• All spaces, including rehearsal halls, technical offices, training rooms, dressing rooms, shoe and costume maintenance, green rooms and the new annex, are interconnected with sound, video and communications from the stage area.
  
  
• New structural systems were added for the extensive automated rigging system, this included an 82’ long hoist support structure in the arbor pit, as well as a 37’ long “battle hoist” support structure on the grid.
  
  
• A series of new “company switches” and equipment power was distributed throughout the theatre. These power sources are used for chain hoists, special effects and specialty equipment which is distributed throughout the space.
  
  
• A new multi-tiered rigging system was developed at the grid level to allow for sophisticated stage automation systems.
  
  
• Three high speed data and communications networks were installed in the new space. These completely independent systems are set up to ensure that the automation, lighting and hydraulic systems can function separately and synchronized. Each system is provided with a minimum RAID-1 hard drive array to help ensure complete system redundancy.

Stage Machinery

Much of the equipment conceived by Cirque du Soleil designers, some of it never before attempted anywhere else in the world, creates some of the most visually striking effects ever seen in a live performance. Auerbach Pollock Friedlander developed an infrastructure of sophisticated stage machinery to the exacting specifications of the production.

• 5 stage lifts are included with a total surface area of 4,950sq/ft and a combined horse power of 640hp can travel from the trap room area to the stage level. The fastest lift can travel at 1 foot per second.
  
  
• 40 individual counterweight assist automated hoists were mounted in the newly configured arbor pit area. These hoists automate the operation of lighting pipes, special effects, curtains and scenic elements.
  
  
• 5 – 1,000kg specialty hoists were designed for flying human scenery in a circular path over the audience and back into the stage area.
  
  
• 6 – 1,000kg specialty hoists were designed for large scenic transitions.
  
  
• 16 – high speed hoists were designed for flying human scenery in a dynamic cat and mouse game between performers. Each performer controls his/her own hoist via a wireless controller integrated into their costumes and can travel up or down at a maximum of 4 feet per second.
  
  
• 18 – high speed mooring hoists enable the rapid deployment of two full stage safety nets. These hydraulic hoists can deploy the safety nets in less than 60 seconds.
  
  
• 80 – high speed scenic pegs, designed for scenic effects, are actuated from within the sand cliff deck.
  
  
• Coordination of the installation contractors for the scenic gantry and sand cliff deck. This system, the largest ever installed in a theatre, makes it possible to move a 280,000 lb scenic element at 2 feet per second.

Rigging and Automation

The fly tower was re-rigged with manual and counterweight assist linesets and the 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.
  
  
• There are over 200 axes of motion control in the theatre controlling the movement of the gantry, tatami, swing poles, forest, bird, overhead rigging and moveable scenic elements.
  
  
• Any one of five automation control consoles can be plugged into any one of 21 different control points. This ensures that the operator can see the motion of the scenic element which he/she is moving.
  
  
• 36 different emergency-stop stations were provided to help ensure complete safety.

Lighting Control

One of the largest and most complex theatrical lighting networks ever designed for a single venue was developed in partnership with the Cirque du Soleil’s lighting staff.

• Completely new dimmer racks were installed consisting of 24 SLD series dimmer racks in three dimmer rooms. 2026 - 20 amp dimmers and 45 - 50 amp dimmers are all network controlled. All dimmers are status reporting with local PC’s running Reporter Pro for this purpose in each dimmer room. In addition to the main dimmer racks, 2 remote dimmer packs are located in the sand cliff deck and are controlled via wireless ethernet.
  
  
• There is extensive distribution of 20 amp and 50 amp dimmed circuits, utilizing custom fabricated plug boxes. A wide-ranging system of cable trays was installed throughout to allow multi cable distribution from these circuit boxes to virtually any light fixture hanging location in the theatre.
  
  
• Emergency power transfer to selected architectural circuits is handled with 6 24 circuit UL 1008 compliant emergency transfer panels. All networked power circuits for consoles, PCs and other sensitive computer grade components are on dedicated centralized UPS circuits.
  
  
• A large system of switched loads of 120V single phase, 208V single phase and 120/208V three phase circuits are distributed throughout the theatre and are under network control.
  
  
• Control consoles serve many functions, including main desk and back up, automated luminaire control and back up, architectural and work lighting with an associated back up and miscellaneous other control functions. Consoles consist of 2 – 550i 54 submaster consoles each with 6000 channels & Quad Video displays, 3 - 520i 24 submaster consoles with 6000 channels & Dual video displays, 2 - 510i Rack mount consoles with 6000 channels and 2 – Whole Hog II consoles with Strand ShowNet network nodes.
  
  
• 40 universes of DMX can be mixed and matched to any of the 100 double network taps distributed throughout the theatre. 60 portable SN 110 nodes are available, all using power over Ethernet ports.
  
  
• There are 5 wireless data access points allowing use of handheld wireless remotes, and/or a remote wireless notebook for console video displays anywhere in the theatre.
  
  
• Network equipment is housed in 4 – Network Equipment racks interconnected with 3 fully redundant fiber optic backbones. All network switches/hubs are managed and patch bays are included for all taps and nodes. AMX based card racks are also located in the racks for use of touch screens for network house and work-light controls and network video distribution electronics for touch-screen feeds. In addition, the racks include space for system file servers and rack mount consoles.
  
  
• Remote AMX driven color touch screens in both fixed and portable configurations are located throughout the theater for use by stage managers and lighting technicians to control cue lights, rehearsal lights (featuring digital “virtual” sliders) and to view remote stage video feeds.

Sound Video and Communications

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

• The Level Control Systems (LCS) computer-controlled audio matrix and processing system is in three sections: front-of-house, stage monitoring and VRAS. The front-of-house system controls 144 sources into 184 matrix outputs. LCS is also used to control the stage monitoring system with a 112 x 80 matrix. Modular “Cue Console” control surfaces are used for sophisticated live mixing and routing control of 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, using a 40 x 128 routing matrix and special DSP processors.
  
  
• 88 channels of Aphex remote-controlled microphone preamplifiers are provided.
  
  
• More than 90 primary and surround loudspeaker systems by Meyer Sound (MILO, CQ and UPA series), Nexo (PS series) and EAW are located throughout the stage and auditorium.
  
  
• Effects processors are by TC Electronics, Presonus, dbx, Klark-Teknik and Aphex.
  
  
• 16 wireless microphone channels are by Sennheiser.
  
  
• Production communications include a 72-port Clear-Com Matrix-Plus-3 digital intercom system interconnected with a Clear-Com 72x8 analog matrix and 24 channels of Telex wireless intercom. More than 16 channels of in-ear monitors and 10 IFB monitor channels feed 100 receivers.
  
  
• Backstage monitoring is provided by BSS Soundweb computer-controlled monitoring and paging system.
  
  
• Extensive lobby playback systems using Tascam 2424 hard drive players and BSS Soundweb computer control and routing systems feed EV special-effects loudspeakers.
  
  
• More than 25 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 is provided throughout the space.
  
  
• More than 350 device panels and wall plates are fed from an extensive analog and digital wiring infrastructure using both copper and fiber-optic cabling.

AUERBACH GLASOW Press Release