AUERBACH POLLOCK FRIEDLANDER

SAN FRANCISCO, CA, NEW YORK, NY AND MINNEAPOLIS, MN –
(June 30, 2006) – Auerbach Pollock Friedlander, Performing Arts/Media Facilities Planning and Design, announces the completion of their work as theatre consultants on the major renovation of the Mirage Hotel Casino Theatre for Cirque du Soleil®’s new production of LOVE™, a celebration of The Beatles™ music.

The 1,968-seat theatre is the fifth permanent theatre in Las Vegas for Cirque du Soleil. The former production space of Siegfried & Roy was stripped to the shell and a completely new theatre and lobby environment was created in its place, accommodating the design and production requirements for Cirque du Soleil’s latest production.

Auerbach Pollock Friedlander’s successful collaboration with Cirque du Soleil, the MGM/Mirage Design Group and architect Marnell Corrao Associates enabled the design of the renovated performance space and the development of the technically advanced theatrical systems to be carefully integrated with the building, supporting the show’s unique performance requirements. The firm’s consulting design work included the new arena seating, 25,000 square feet of overhead technical support, sound systems, and a fully automated stage deck.

The sophisticated theatrical infrastructure for the performers, supported by the automation, special effects and audio, provides the vehicle for the production. The show envelops the audience allowing a completely new musical experience of the Beatles legacy.

LOVE opened June 30, 2006.

FACT SHEET

Room Configuration

The Cirque du Soleil designers’ show concept transformed the entire theatre configuration from a proscenium theatre to a spacious arena. The show takes place throughout the arena with scenery and performers entering from all directions. Auerbach Pollock Friedlander’s work incorporates total integration of audience, performers and theatrical technology allowing the audience to be completely immersed in the production.

A full theatre split-level technical grid over the entire stage and seating area supports performer access, lighting systems, projection, rigging, high speed trolley hoists, scenery storage and special effects.
The configuration of the seating, conceived by Cirque du Soleil, for an audience of 1,968 optimizes sightlines for the performance environment.
Control locations are configured as four separate booths and one in-house sound mix position to implement the extensive requirements of automation, lifts, rigging, lighting, projection and audio controls.
The center floor stage area is completely operable via an extensive combination of lifts, traps and sloats/slip stages contributing to 2,300 sq/ft of operable staging area. The stage lifts enable flexibility of stage floor elevation, scenery motion and special effects control.

Building Infrastructure

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

New structural systems were added for the extensive automated rigging system, including approximately 25,000 square feet of technical gridiron.
Power distribution throughout the theatre services the requirements for theatrical systems.
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 trolley hoists, lifts, lighting and sound, video and communications systems function flawlessly during complex cueing sequences.

Stage Machinery

The scenography by Cirque du Soleil designers 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 accommodate the exacting specifications of the production.

Five stage lifts are included with a total surface area of 1,390sq/ft and a combined total of 370 horse-power. The center lift can travel from the trap room area to 8’-0” above the stage level, and each of the other four lifts can travel from the trap room to 18” above stage level. Each lift travels at 1’-0” foot per second. The combined movement patterns of these five lifts provide unsurpassed visual variety for the 90-minute production.

Two horizontally traversing sloats/slip stages each with two on-board lifts allow the stage floor to be closed over the center lift while scenic elements are removed in the trap area. Scenic elements are quickly shifted to the center lift and a seamless transition is completed as the sloats open and the new scenery is revealed center stage.

Four hinged trap decks combined with the stage lifts allow the stage area to be transformed into a 1600 sq/ft black hole, giving the visually stunning appearance of a void which only moments before was filled with scenic elements.

Rigging and Automation

All overhead rigging elements, mechanized performer apparatus and scenery handling together with the stage elements are controlled by a sophisticated automation control system specified by Auerbach Pollock Friedlander.

Eleven motorized overhead trolleys are integrated with wireless controls and travel at a maximum speed of six feet per second for transporting scenery and performers. These units are the key to the overhead acrobatics using the three dimensional space in the theatre. The trolleys are fitted with vertical hoists on a rotational axis. A typical trolley unit consists of four vertical hoists mounted on a rotating chassis, allowing performers or scenery to be moved vertically or horizontally while rotating simultaneously. There are a total of 22 vertical hoists and eight rotating chassis.
Four motorized projection screens and six traveling scrims provide a variety of large-format projection surfaces.
12 fixed winch assemblies are positioned on the grid surface to assist with the movement of scenic elements in and out of the space.

Sound, Video and Communication Systems

In close collaboration with Cirque du Soleil’s audio staff and production sound designer, Auerbach Pollock Friedlander designed the extensive sound, video and production communication systems for the space.

Primary front-of-house sound reinforcement and effects playback is controlled by a sophisticated computer-controlled audio matrix and processing system. The system controls 88 sources into 288 matrix outputs. Modular control surfaces are deployed for sophisticated live mixing and routing control of microphones and multi-track audio playback.
A sophisticated electronic virtual room acoustics system enhances and augments the natural room acoustics, providing a real-time ability to alter reverberation time and delay characteristics as needed. The system uses an 80 x 224 routing matrix and special DSP processors.
A digital mixing desk is used to control the stage monitoring system with a 48 x 24 matrix.
Additional digital mixers are also included for backup and auxiliary use.
Eight channels of studio-quality remote-controlled microphone preamplifiers are provided.
More than 280 primary and surround loudspeaker systems have been deployed throughout the auditorium.
In excess of 2000 custom personal loudspeaker systems have been installed throughout the audience seating area.
Production communications include a 72-port digital matrix intercom system interconnected with a digitally-controlled analog matrix, capable of switching 216 stations into eight party-lines. The system provides ten channels of wireless intercom feeding 20 wireless beltpacks.
Backstage monitoring and paging is controlled by a computer-based system feeding over 82 loudspeakers.
More than 20 production fixed-focus and remote-controllable color video cameras are routed through a 26-channel modulated video system for monitoring of performers, musicians and critical backstage systems.
A fiber and CAT-5 backbone provides interconnectivity for current systems and future expansion.
An FM assisted-listening system for the hearing impaired is provided throughout the space. Additional systems are also provided for use with on-stage “practical” sound effects units.
Over 230 device panels and wall plates are fed from an extensive analog and digital wiring infrastructure using both copper and fiber-optic cabling.


	AUERBACH POLLOCK FRIEDLANDER COMPLETES WORK ON LOVE™ FOR CIRQUE DU SOLEIL SAN FRANCISCO, CA, NEW YORK, NY AND MINNEAPOLIS, MN – (June 30, 2006) – Auerbach Pollock Friedlander, Performing Arts/Media Facilities Planning and Design, announces the completion of their work as theatre consultants on the major renovation of the Mirage Hotel Casino Theatre for Cirque du Soleil®’s new production of LOVE™, a celebration of The Beatles™ music. The 1,968-seat theatre is the fifth permanent theatre in Las Vegas for Cirque du Soleil. The former production space of Siegfried & Roy was stripped to the shell and a completely new theatre and lobby environment was created in its place, accommodating the design and production requirements for Cirque du Soleil’s latest production. Auerbach Pollock Friedlander’s successful collaboration with Cirque du Soleil, the MGM/Mirage Design Group and architect Marnell Corrao Associates enabled the design of the renovated performance space and the development of the technically advanced theatrical systems to be carefully integrated with the building, supporting the show’s unique performance requirements. The firm’s consulting design work included the new arena seating, 25,000 square feet of overhead technical support, sound systems, and a fully automated stage deck. The sophisticated theatrical infrastructure for the performers, supported by the automation, special effects and audio, provides the vehicle for the production. The show envelops the audience allowing a completely new musical experience of the Beatles legacy. LOVE opened June 30, 2006. FACT SHEET Room Configuration The Cirque du Soleil designers’ show concept transformed the entire theatre configuration from a proscenium theatre to a spacious arena. The show takes place throughout the arena with scenery and performers entering from all directions. Auerbach Pollock Friedlander’s work incorporates total integration of audience, performers and theatrical technology allowing the audience to be completely immersed in the production. A full theatre split-level technical grid over the entire stage and seating area supports performer access, lighting systems, projection, rigging, high speed trolley hoists, scenery storage and special effects. The configuration of the seating, conceived by Cirque du Soleil, for an audience of 1,968 optimizes sightlines for the performance environment. Control locations are configured as four separate booths and one in-house sound mix position to implement the extensive requirements of automation, lifts, rigging, lighting, projection and audio controls. The center floor stage area is completely operable via an extensive combination of lifts, traps and sloats/slip stages contributing to 2,300 sq/ft of operable staging area. The stage lifts enable flexibility of stage floor elevation, scenery motion and special effects control. Building Infrastructure Successful integration of the theatrical systems required coordination of the building infrastructure to accommodate the latest technology. Auerbach Pollock Friedlander developed the criteria and coordinated the theatrical systems infrastructure within the building to achieve independent and reliable operation. New structural systems were added for the extensive automated rigging system, including approximately 25,000 square feet of technical gridiron. Power distribution throughout the theatre services the requirements for theatrical systems. 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 trolley hoists, lifts, lighting and sound, video and communications systems function flawlessly during complex cueing sequences. Stage Machinery The scenography by Cirque du Soleil designers 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 accommodate the exacting specifications of the production. Five stage lifts are included with a total surface area of 1,390sq/ft and a combined total of 370 horse-power. The center lift can travel from the trap room area to 8’-0” above the stage level, and each of the other four lifts can travel from the trap room to 18” above stage level. Each lift travels at 1’-0” foot per second. The combined movement patterns of these five lifts provide unsurpassed visual variety for the 90-minute production. Two horizontally traversing sloats/slip stages each with two on-board lifts allow the stage floor to be closed over the center lift while scenic elements are removed in the trap area. Scenic elements are quickly shifted to the center lift and a seamless transition is completed as the sloats open and the new scenery is revealed center stage. Four hinged trap decks combined with the stage lifts allow the stage area to be transformed into a 1600 sq/ft black hole, giving the visually stunning appearance of a void which only moments before was filled with scenic elements. Rigging and Automation All overhead rigging elements, mechanized performer apparatus and scenery handling together with the stage elements are controlled by a sophisticated automation control system specified by Auerbach Pollock Friedlander. Eleven motorized overhead trolleys are integrated with wireless controls and travel at a maximum speed of six feet per second for transporting scenery and performers. These units are the key to the overhead acrobatics using the three dimensional space in the theatre. The trolleys are fitted with vertical hoists on a rotational axis. A typical trolley unit consists of four vertical hoists mounted on a rotating chassis, allowing performers or scenery to be moved vertically or horizontally while rotating simultaneously. There are a total of 22 vertical hoists and eight rotating chassis. Four motorized projection screens and six traveling scrims provide a variety of large-format projection surfaces. 12 fixed winch assemblies are positioned on the grid surface to assist with the movement of scenic elements in and out of the space. Sound, Video and Communication Systems In close collaboration with Cirque du Soleil’s audio staff and production sound designer, Auerbach Pollock Friedlander designed the extensive sound, video and production communication systems for the space. Primary front-of-house sound reinforcement and effects playback is controlled by a sophisticated computer-controlled audio matrix and processing system. The system controls 88 sources into 288 matrix outputs. Modular control surfaces are deployed for sophisticated live mixing and routing control of microphones and multi-track audio playback. A sophisticated electronic virtual room acoustics system enhances and augments the natural room acoustics, providing a real-time ability to alter reverberation time and delay characteristics as needed. The system uses an 80 x 224 routing matrix and special DSP processors. A digital mixing desk is used to control the stage monitoring system with a 48 x 24 matrix. Additional digital mixers are also included for backup and auxiliary use. Eight channels of studio-quality remote-controlled microphone preamplifiers are provided. More than 280 primary and surround loudspeaker systems have been deployed throughout the auditorium. In excess of 2000 custom personal loudspeaker systems have been installed throughout the audience seating area. Production communications include a 72-port digital matrix intercom system interconnected with a digitally-controlled analog matrix, capable of switching 216 stations into eight party-lines. The system provides ten channels of wireless intercom feeding 20 wireless beltpacks. Backstage monitoring and paging is controlled by a computer-based system feeding over 82 loudspeakers. More than 20 production fixed-focus and remote-controllable color video cameras are routed through a 26-channel modulated video system for monitoring of performers, musicians and critical backstage systems. A fiber and CAT-5 backbone provides interconnectivity for current systems and future expansion. An FM assisted-listening system for the hearing impaired is provided throughout the space. Additional systems are also provided for use with on-stage “practical” sound effects units. Over 230 device panels and wall plates are fed from an extensive analog and digital wiring infrastructure using both copper and fiber-optic cabling.