Cirque du Soleil "Michael Jackson" Show

[Memphis]

sich eine "Wachablösung" ab, um es salopp zu sagenhttp://www.forbes.com/sites/zackomal...rise-and-fall/

ich versuche mich ja in letzter zeit etwas zurückzuhalten, wenn es um dieses thema geht. aber trotzdem bitte mehr sachlichkeit.
was für eine "wachablösung"? eine show ist noch keine "ablösung"! außerdem, würde es diese stadt ohne elvis presley wahrscheinlich gar nicht mehr geben und wäre irgendein provinsnest . ich kann gerne etwas dazu schreiben, wenn gewünscht wird, da der artikel nicht ganz "sachlich richtig und fair" ist.

[Lena]

Chris Tucker mit Sohn bei der Premiere in LA



Ein Nachwuchsfan






AkOjLq9CQAA2CEq.jpg

[Lena]

Auf der Cirque-Seite sind jetzt schon einige europ. Städte angegeben, noch ohne Datum.

http://www.cirquedusoleil.com/en/shows/michael-jackson-tour/tickets.aspx

Woanders habe ich gelesen, dass nächste Woche der Vorverkauf in Europa starten soll.

[Lena]

Dangerous Reharsals: Der Tänzer neben Michael mit dem umgebundenen Sweat-shirt um die Hüften ist Jamie King.

http://www.latimes.com/la-ca-jamie-king-20120122,0,5526423.story

Jamie King has got the moves
From a young age, he studied Michael Jackson's steps, a legacy he preserves in 'The Immortal.' He's also helping Madonna generate heat at the Super Bowl.

By Jean Lenihan, Special to the Los Angeles Times

January 22, 2012
In a dark booth at the Polo Lounge, just down the street from his Beverly Hills home, tour director extraordinaire Jamie King struggles to recall the day he hung up his dance shoes for good. Though his management badly wants this interview to stay on the topic of his current feats as the director-writer of the Cirque du Soleil/Michael Jackson tribute world tour, "The Immortal" (Tuesday and Wednesday at the Honda Center and Friday through Jan. 29 at Staples Center), as well as his stint directing Madonna's heat-seeking Super Bowl performance (Feb. 5), and please don't forget the start of his Latin American "Idol"-esque TV series with Jennifer Lopez and Mark Anthony called "Q'Viva!" (premiering this month on Univision and later in spring on Fox), the affable King is giggling as he tries to remember exactly who was the last artist he danced for. He was neither injured nor burnt out at the time — he'd just become increasingly consumed with one-off choreographing and directing projects.

"Madonna!" he says, finally. "It was her. She wanted me to dance in her 'Human Nature' video. I didn't want to do it, but she begged." In the 1995 cult-favorite music video, a cat-suited Madonna sports a frisky S&M attitude in a realm of white-on-white boxes. King, then a spiky blond, hangs upside-down from a swinging trapeze in the scene, among other things.

A talk with King this month made Madonna's pleas easy to understand. At 39, he is broad-shouldered and warm, with a soft Midwestern twang. It's hard at first glance to reconcile this large, solid presence with his amazingly fast dance technique. Nor can one immediately see — as he gently cuts his pizza after a nonstop day of meetings on "Q'Viva!" — the stubborn, steely will that was needed to catapult him from dancer to choreographer to tour director by age 27.

Since 1999, he's directed Ricky Martin (two tours), Rihanna (three), Britney Spears (three) and Christina Aguilera (two), among others. And don't forget Madonna, whose last three stratospheric tours he conceived and directed. His trademark? Dream-like tours that feel born from the artist's forehead, not his.

"If you can make it all — and that means the stage moves, the choreography, the costumes, the lighting — be a reflection of that artist, you've done your job correctly," he says. "Because the fans will really understand the show."

King prefers invisibility in his public life too. He keeps a low profile and has embarked on only one clunky self-promotional endeavor (a 2007 dance-exercise tape called "Rock Your Body" that's proven too tricky for mass popularity). In the past, he's acknowledged a relationship with the Beverly Hills Kabbalah Centre, where Madonna attends, but when asked if his close circle is made up of A-listers he's fast to say, "No! I do that all day long!" Later, when he removes his dark sweater, a vintage Cartier key can be seen hanging from his neck. When prodded, he will say it was a special Christmas gift — but not from whom — and shyly demonstrate how its teeth spell L-O-V-E.

"Jamie has a spirit about him that is quite remarkable," says "American Idol" founder Simon Fuller, King's production partner on "Q'Viva!" "I need someone like him by my side."

Especially now, by the sound of it. Fuller describes 200 far-flung contestants arriving in Los Angeles this month, to be winnowed to 60, who'll then be coached in stage performance and presented in a concert, conceived and directed by King, in Las Vegas in late April, all played out on weekly television.

Fuller calls it "a massive, massive operation, which, with a [Lopez-Anthony] divorce in the mix, has become far-away the most complicated thing I've ever done." On a happier note, it's also the culmination of years of strategizing between Fuller and King to build a unique show around King's artistic passions and directing talents.

"I recognize myself in those kids, those groups," King says. He traveled to Argentine bars, festivals, dance studios and barrios during the taping. "I definitely see that hunger, just wanting to be heard, just wanting to be appreciated, just wanting someone to get you. I remember that. I still wake up like that."

Born in Verona, Wis., to a white teenage mom and a black father who left when he was 5, King describes a people-pleasing childhood in which he felt the pain of his mother's struggles and tried his best to ease the situation. "I learned to 'produce' early," he says. By high school, he worked afternoons and weekends and summers: making pizzas, tinting car windows, cleaning offices, watering greenhouses.

At the same time, identifying powerfully with '80s pop stars (he rotated his outfits at school, "one week Michael, one week Prince"), King danced privately and obsessively. On a foundation of self-taught MTV video reenactments in his basement, King's storybook public dance career took off at age 16 with a fast succession of school scholarships and contest wins, which led to a Los Angeles audition for Michael Jackson that landed him the single open slot for a male dancer on the 1992-93 "Dangerous" world tour. Within weeks, King was rehearsing Jackson's tight, skidding moves from "Beat It" and head-bobbing syncopations from "Smooth Criminal" with the master himself.

King followed his curiosity, "absorbing everything." After the 17-month Jackson tour, King was comfortable with and interested in all aspects of stage production. Working with musical directors, lighting and stage designers, wardrobe, jumbo screens, pyrotechnics, moving sets, he wanted to choreograph it all, and honed his craft working for Prince for several years. Then in 1999, garnering attention for his carnivalesque design for Ricky Martin's Grammy Awards appearance, King was hired to direct the singer's first U.S. tour. After Madonna caught Martin's show one night, King explains, she asked him to help her launch her first tour after an eight-year hiatus. And the rest — disco-ball entrances, mechanical horses, roller-skate mania — is history.

"From when the lights go down, or when the lights come on, to when the screens open or the screens come up, and how that moves with the set pieces coming on or the dancers arriving, I see it all in a dance way," King explains. He sips an iced tea between words. "One of my biggest dislikes is when those elements are not working together. I get very uncomfortable. I like it all to move and flow together and make sense, like theater."

Cirque du Soleil spokesman Maxime Charbonneau says King's background with rock tours and Jackson himself made him the easy choice to help the entertainment company in its first attempt to fill 10,000-seat arenas (and not wall off portions to retain intimacy). For King, who was used to working so incisively as to move from a shoe box concept to world tour in several months, Cirque's initial open-ended creative period was unsettling. "They like to just throw things at you left and right and see what you respond to," King explains. "They say it's 'feeding' — they like to 'feed' you and wait while you chew on it."

Using 65 songs, 30 dancers, 25 acrobats, 10 musicians and a 10-choreographer team, King conceived and directed "The Immortal" to center on a place (Neverland Ranch, which he visited early on) rather than his usual artist-focused orientation. Jackson is represented by master tracks of his singing voice, video and spoken-word clips and amplified representations of his most identifiable choreography and accessories.

Since the show opened in Las Vegas in December, reviewers have paled at some cartoonish mash-ups and missteps during pivotal songs (e.g. a frolicking life-size sequined glove and loafers during "Beat It"), yet there's been no argument over King's ability to intensify and amplify the precise, essential dance power in such signature numbers as "Billie Jean" and "Thriller."

Next month, even more of King's oversize movement collaborations with Cirque du Soleil performers and crew will be visible during Madonna's high-exposure Super Bowl performance. "There'll be some magic," he says slyly.

Meanwhile, as the "Immortal" tsunami rolls into Los Angeles this month (more than 900,000 tickets have sold in North America), King has officially begun work with Cirque on the more intimate, permanent version of "The Immortal" to go up in Vegas in 2013.

It had been his "great dream," he says, to scale back to create a work for a fixed site. "The possibilities are just endless when you're in a theater and there aren't people standing in front of you like in a rock concert, with popcorn flying and alcohol," he says. "This will be a focused environment where we'll really have people's attention. I just can't wait."

[daggi]

Die Ausstrahlung der wahren Fans überstrahlt jede Welle im großen www...

[Dreamerdancer]

woran erkennt Ciruqe du Soleil den wahren MJ fan

[panter]

Cirque du Soleil: TIWT Vorverkauf in Vorbereitung
13.01.12 - 07:14

Wie uns Cirque du Soleil bestätigt haben, ist der Vorverkauf für die Deutschland Termine 2012 in Vorbereitung. Wahre Michael Jackson Fans werden die Chance haben, bei einem extra Vorverkauf Tickets kaufen zu können.

Mehr Informationen folgen bald!

Quelle: Cirque du Soleil & MJFC JAM

[Lena]

Hier noch ein Bericht zu den shows in Vegas

[Dreamerdancer]

Das habe ich beim stöbern gefunden, es zeichnet sich eine "Wachablösung" ab, um es salopp zu sagen

http://www.forbes.com/sites/zackomalleygreenburg/2012/01/11/michael-jackson-and-elvis-in-vegas-two-kings-rise-and-fall/

[McGyver]

Gerade über Facebook gemeldet:

This production will be touring in North America until the end of August 2012. European dates should be announced soon.

[McGyver]

Ich würd alles mitnehmen was da rumliegt!!!!!!!!!!!

Bei ebay.com werde die Karten je nach Sitzplatz nicht unter 1000,- Dollar verkauft!!!

[Biggi25]

das gefällt mir

[Lena]

Türschilder im Mandaly Bay Hotel anstatt den "Bitte nicht stören-Schilder". Zudem werden MJ Videos- und Musik in den Aufzügen gespielt.
Im 64. Penthouse-Stockwerk spielten sie Butterflies. An den Wänden sind MJ-Bilder, auf den Hotel-Zimmern liegt ein MJ-Magazin.

Originally Posted by Driver View Post
The hotel I was staying at ' The Mandalay Bay ' had gone MJ crazy, they had MJ videos and music on in the elevators, on the room cards, and instead of the 'Do not disturb' thingies you normally get in hotels to hang outside your door it said 'Leave me alone' with an MJ silhouette. That isn't all, there were huge walls taken up by MJ images, I went upto the penthouse lounge on the 64th floor and they were playing butterflies, there was an MJ magazine in every room as well as an MJ pop up thing. I booked this hotel before I even knew about immortal, it was a nice surprise. I can post the photos of the MJ stuff at the hotel if you guys like

[Lena]

https://twitter.com/tajjackson3

tajjackson3 Taj Jackson
“@AnneM_B: I'm going to Immortal Jan 27 at Staples. Sooo excited, gr8 seats! Bought my tix Nov 2010 )” That's when I hope to go :-)
46 minutes ago


tajjackson3 Taj Jackson
I remember the day my uncle Michael told me that he wanted to have a Cirque show. Now it's here. Can't wait to see it.
58 minutes ago


tajjackson3 Taj Jackson
“@alyssaaaa_xo: @tajjackson3 do you like the Immortal album? What's your favorite mix?” Smooth Criminal.. Always loved that song!!!
1 hour ago


tajjackson3 Taj Jackson
@MusicMechanik. I'm sure it is. I've only heard great things about it. I loved the album. However it made me miss my uncle even more.
1 hour ago


tajjackson3 Taj Jackson
“@MusicMechanik: Why no fam fanfare about Immortal shows?” Haven't seen it yet. It comes to LA end of month. Bought the album though. :-)
1 hour ago


Ist ja positiv, dass nun auch Taj Jackson das Immortal-Fieber ergriffen hat und er das Album ganz klasse findet.
Aber fast ein bischen lustig, dass er sich zum Besuch der show das Staples-Center aussucht deren Besitzer die Oma doch verklagt.

[Dreamerdancer]

Mißgunst, Neid,Unkenntnis,Böswilligkeit, Rassismus,Ablehnung,es darf nicht sein, daß ein schwarzer Künstler all das geschafft hat, was MJ geschafft hat.

Immortal ist gerade in Phoenix und ratet mal, wer dort in der Show war?

http://www.facebook.com/photo.php?fbid=327691167255752&set=a.277498785608324.71073.163439450347592&type=3&theater