AUERBACH POLLOCK FRIEDLANDER

FACT SHEET

Room Configuration
The Viva ELVIS™ by Cirque du Soleil® production required a room design that harkens back to the prolific nightlife of Las Vegas in the 1950s. The gracefully curving aisles, the rich rose woodwork and the elegance of the side wall drapery all provide immediate clues that the show is going to be spectacular. The center section of the room has been appointed with “banquet” seating, a communal seating arrangement that makes it possible to truly share the experience with the person sitting next to you. Extensive technical catwalks over the seating area support the lighting and technical systems required in the front of house area.

The control suite is configured to fulfill the extensive requirements of automation, lighting, projection and audio controls. The control suite contains a total of 1,450 square feet of booth space and 102 linear feet of glass that overviews the entire performance space.
The 19,200 square foot cruciform shaped stage area is able to accommodate spectacular large sized scenic elements, some weighing in excess of 60,000 lbs.
The 80 foot wide proscenium opening required the largest curved fire curtain in the world.

Building Infrastructure
Successful integration of theatrical systems required extensive design and 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 technical grid, are interconnected with sound, video and communication system from the stage area.
The structural support systems were developed in conjunction with Thornton Tomasetti Engineers for the extensive automated rigging system and included 100 linear feet of “winch farm” supporting the control of up to 40 individually controlled motorized winches. In addition, five automated trolleys with 12 individual winches are supported below the 19,200 square foot bar grating grid. These trolleys and winches are used to gracefully move performers and scenic elements from one side of the stage to the other.

Three high speed fiber optic data and communications networks were installed in the new space. These completely independent systems are set up to ensure that the automation, lighting and audio-video systems can function separately and synchronized with one another. Each system is provided with a minimum RAID-1 hard drive array to help ensure complete system redundancy.

Stage Machinery
The equipment conceived 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 the exacting specifications of the production.

17 stage lifts are included with a total surface area of 3,736 square feet. The largest stage lift, weighing an estimated 265,000 lbs and measuring 1,350 square feet, can travel at 1 ft/sec and is supporting eight additional stage lifts that can also travel at the same speed.
The center lift, measuring 20’ x 20’ can travel at 2 ft/sec and is fitted with a horizontally traversing cover which allows scenery to be reconfigured in the basement area while new scenery is revealed directly above it.

Rigging and Automation
The theatre has been designed and equipped with the latest in theatrical automation and the movement of all mechanical elements is controlled by a series of control consoles which are located within visual contact of the moving elements. One such location is the extensive technical grid over the stage area. This space is designed with a series of removable bar grating panels and the resulting flexibility is used to accommodate all manner of specialty rigging.

Five motorized overhead trolleys are integrated with wireless control travel at a speed of 6 ft/sec for transporting scenery and performers. These trolleys are fitted with vertical hoists as well as rotational axis, the most sophisticated trolley unit consists of four vertical hoists and one trolley rotating assembly allowing performers or scenery to be moved vertically, horizontally and rotated simultaneously. There are a total of 12 vertical hoists, five drive assemblies and one rotational drive assembly.
A six panel motorized LED project screen traverses upstage of the scenery allowing the extensive projections of the production to be blended into the action. These six separate projection surfaces are deployed and retracted as the production subtly shifts the audience’s visual perceptions of the music from projected image to the scenic images and the performers.
Eight high capacity fixed winch assemblies are positioned on the grid surface to assist with the movement of a 60,000 lb scenic element in and out of the space.
10 motorized lighting trusses properly position the extensive theatrical lighting inventory to the proper elevation and position to light the performers and scenic elements.
21 motorized multi line winches are used for moving scenic elements.
The control console can be plugged into any one of 20 Control Point/E-Stop locations and there are an additional 15 E-Stop locations throughout the stage area.

Audio-Video Systems
Auerbach Pollock Friedlander designed the extensive sound, video and production communication systems for the space in close collaboration with Cirque du Soleil’s audio staff and production sound designer, Jonathan Deans.

Primary front-of-house sound reinforcement and effects playback is controlled by a sophisticated computer-controlled audio matrix and processing system. The system controls 168 sources into 176 matrix outputs. Modular control surfaces are deployed for sophisticated live mixing and routing control of microphones and multi-track audio playback. A secondary 168 x 176 channel audio matrix and processing system provides performer in-ear and stage loudspeaker monitoring.
Additional digital mixers are included for backup and auxiliary use.
A 512-channel redundant fiber loop audio transport system with microphone preamps routes all front-of-house, performer monitoring and back-of-house audio. Recallable matrix presets and network server control allow for on the fly routing and switchover to backup hardware.
The digital multi-track production record/playback system is capable of 128 x 128 channel I/O directly onto the fiber audio transport system.
A wireless performer tracking system provides real-time three-dimensional performer positioning. This information is sent to the front-of-house reinforcement system for automated audio panning across all channels.
36 channels of wireless microphones, 26 channels of stereo in-ear monitoring, 2 channels of IFB with 40 wireless receivers.
More than 160 primary and surround loudspeaker systems have been deployed throughout the auditorium. 20 audience fill subwoofers have been recessed into the orchestra seating slab.
Production communications include an 80-port digital matrix intercom system interconnected with a digitally-controlled analog matrix, capable of switching 288 stations into eight party-lines. The system provides 20 channels of wireless intercom feeding 40 wireless beltpacks.
Backstage monitoring and paging is controlled by a paging processor feeding over 135 loudspeakers and allowing for paging from portable stations or digital matrix intercom stations.
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-5E 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 300 device panels and wall plates are fed from an extensive analog and digital wiring infrastructure using both copper and fiber-optic cabling.


	VIVA ELVIS™ BY CIRQUE DU SOLEIL® FACT SHEET Room Configuration The Viva ELVIS™ by Cirque du Soleil® production required a room design that harkens back to the prolific nightlife of Las Vegas in the 1950s. The gracefully curving aisles, the rich rose woodwork and the elegance of the side wall drapery all provide immediate clues that the show is going to be spectacular. The center section of the room has been appointed with “banquet” seating, a communal seating arrangement that makes it possible to truly share the experience with the person sitting next to you. Extensive technical catwalks over the seating area support the lighting and technical systems required in the front of house area. The control suite is configured to fulfill the extensive requirements of automation, lighting, projection and audio controls. The control suite contains a total of 1,450 square feet of booth space and 102 linear feet of glass that overviews the entire performance space. The 19,200 square foot cruciform shaped stage area is able to accommodate spectacular large sized scenic elements, some weighing in excess of 60,000 lbs. The 80 foot wide proscenium opening required the largest curved fire curtain in the world. Building Infrastructure Successful integration of theatrical systems required extensive design and 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 technical grid, are interconnected with sound, video and communication system from the stage area. The structural support systems were developed in conjunction with Thornton Tomasetti Engineers for the extensive automated rigging system and included 100 linear feet of “winch farm” supporting the control of up to 40 individually controlled motorized winches. In addition, five automated trolleys with 12 individual winches are supported below the 19,200 square foot bar grating grid. These trolleys and winches are used to gracefully move performers and scenic elements from one side of the stage to the other. Three high speed fiber optic data and communications networks were installed in the new space. These completely independent systems are set up to ensure that the automation, lighting and audio-video systems can function separately and synchronized with one another. Each system is provided with a minimum RAID-1 hard drive array to help ensure complete system redundancy. Stage Machinery The equipment conceived 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 the exacting specifications of the production. 17 stage lifts are included with a total surface area of 3,736 square feet. The largest stage lift, weighing an estimated 265,000 lbs and measuring 1,350 square feet, can travel at 1 ft/sec and is supporting eight additional stage lifts that can also travel at the same speed. The center lift, measuring 20’ x 20’ can travel at 2 ft/sec and is fitted with a horizontally traversing cover which allows scenery to be reconfigured in the basement area while new scenery is revealed directly above it. Rigging and Automation The theatre has been designed and equipped with the latest in theatrical automation and the movement of all mechanical elements is controlled by a series of control consoles which are located within visual contact of the moving elements. One such location is the extensive technical grid over the stage area. This space is designed with a series of removable bar grating panels and the resulting flexibility is used to accommodate all manner of specialty rigging. Five motorized overhead trolleys are integrated with wireless control travel at a speed of 6 ft/sec for transporting scenery and performers. These trolleys are fitted with vertical hoists as well as rotational axis, the most sophisticated trolley unit consists of four vertical hoists and one trolley rotating assembly allowing performers or scenery to be moved vertically, horizontally and rotated simultaneously. There are a total of 12 vertical hoists, five drive assemblies and one rotational drive assembly. A six panel motorized LED project screen traverses upstage of the scenery allowing the extensive projections of the production to be blended into the action. These six separate projection surfaces are deployed and retracted as the production subtly shifts the audience’s visual perceptions of the music from projected image to the scenic images and the performers. Eight high capacity fixed winch assemblies are positioned on the grid surface to assist with the movement of a 60,000 lb scenic element in and out of the space. 10 motorized lighting trusses properly position the extensive theatrical lighting inventory to the proper elevation and position to light the performers and scenic elements. 21 motorized multi line winches are used for moving scenic elements. The control console can be plugged into any one of 20 Control Point/E-Stop locations and there are an additional 15 E-Stop locations throughout the stage area. Audio-Video Systems Auerbach Pollock Friedlander designed the extensive sound, video and production communication systems for the space in close collaboration with Cirque du Soleil’s audio staff and production sound designer, Jonathan Deans. Primary front-of-house sound reinforcement and effects playback is controlled by a sophisticated computer-controlled audio matrix and processing system. The system controls 168 sources into 176 matrix outputs. Modular control surfaces are deployed for sophisticated live mixing and routing control of microphones and multi-track audio playback. A secondary 168 x 176 channel audio matrix and processing system provides performer in-ear and stage loudspeaker monitoring. Additional digital mixers are included for backup and auxiliary use. A 512-channel redundant fiber loop audio transport system with microphone preamps routes all front-of-house, performer monitoring and back-of-house audio. Recallable matrix presets and network server control allow for on the fly routing and switchover to backup hardware. The digital multi-track production record/playback system is capable of 128 x 128 channel I/O directly onto the fiber audio transport system. A wireless performer tracking system provides real-time three-dimensional performer positioning. This information is sent to the front-of-house reinforcement system for automated audio panning across all channels. 36 channels of wireless microphones, 26 channels of stereo in-ear monitoring, 2 channels of IFB with 40 wireless receivers. More than 160 primary and surround loudspeaker systems have been deployed throughout the auditorium. 20 audience fill subwoofers have been recessed into the orchestra seating slab. Production communications include an 80-port digital matrix intercom system interconnected with a digitally-controlled analog matrix, capable of switching 288 stations into eight party-lines. The system provides 20 channels of wireless intercom feeding 40 wireless beltpacks. Backstage monitoring and paging is controlled by a paging processor feeding over 135 loudspeakers and allowing for paging from portable stations or digital matrix intercom stations. 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-5E 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 300 device panels and wall plates are fed from an extensive analog and digital wiring infrastructure using both copper and fiber-optic cabling.