Get tickets for LOVE from Ticketmaster

Update (1/26/07)

Steve:

Happy New Year. I just got an invite to the grand opening of the Revolution Lounge at the Mirage and I thought of you. Actually I meant to write you anyway; my sons came to visit for New Year's and we went to see "Love." We all loved it, proving once again that the Beatles music is timeless. Yeah, that's not news. But this was an in your face reminder of it.

I don't know how familiar you are with Cirque du Soleil, but if you've gone to any of the shows you know that every Cirque production threatens to overwhelm plot -- if there is any -- with flash and high production. The wow factor is high and you sometimes get this sense that they are using technology and acrobatics just because they can.

This production was different in several ways -- all of them good, I think. The Beatles are real (obviously) and people have strong opinions about them. So the show uses their lives as a starting point. It also takes images from the time -- drugs, transcendental meditation, flower power, VW bugs, Wellington rainboots, Peter Max, miniskirts, cross burnings -- and from Beatles songs -- Lucy, Eleanor Rigby, Mr. Kite, Sgt. Pepper, Lady Madonna, even the Abbey Road crosswalk and the rooftop concert -- and deconstructs them.

It's a loving tribute to the lads and to the music. And the music is the star. All of the production serves the music. And the music sounds fresh -- because of the way it has been remixed and because of the good sound quality in the theater.

Was it expensive? Yeah, but Vegas shows are expensive. We had mid-range seats for $125 or so each. (The show is in the round and every seat in the place seemed like it would be great.)

Was it worth it? Absolutely. It was pure fun.

If I could afford it, I'd go again tomorrow and see a whole bunch of stuff that I missed.

Mark

PS: I think the 55-ish guy next to us had dropped acid. (Mercifully, he stopped singing by about the second number because it was so mind-boggling.) You don't have to do that. You don't have to burn a fatty or have a stiff drink or a pint. In fact, I was sober as a judge going in and felt high as a kite when the show was over. It's designed to blow your mind.

Update (12/4/06)

Update (11/11/06)

Update (10/22/06)

Update (8/17/06)

SM: Just returned from Vegas and saw "the show." Here is the review I put on my blog...

As a huge admirer of The Beatles and a scholar of their lives/music, I was wary of 'Love' containing Vegas cheese. And I had never seen a Cirque du Soleil show, but I am aware about their stellar and ethereal reputation (and the making fun of it therein).

First, the music was weep inducingly wondrous. No matter what forum these songs have been on, from tinny AM radio through 5.1 surround, here was like being in the studio with the lads, each vocal, every instrument being clean and alive. The "re-purposing" of the songs were enhancements, the essence of their power given more substance without taking any of the original passion away.

Highlights included the costumes, which evoked the Beatle character without overindulging the Vegas aspect. The post war rain of the UK evolved into the bright, swinging color of the 1960s and coordinated with the "Cirque" realm of flying performers. The visual tricks of the rising and falling platforms, plus some "wink-wink" props (the VW from the cover of Abbey Road) presented the entirety without a skip, a sensational assault on all the senses (yes I could feel and taste the proceedings as well).

It was Ringo's song, 'Octopus' Garden,' that was the trippy-est, as the troupe was able to provide the illusion (through costume and stage design) of an underwater acid experience. But most of the song and stage collaborations were brilliant because it blended some of the finest rock sounds created with Cirque's inventive worldview. I'd like to be under the sea.

It wasn't perfect. There was a questionable "comedy" bit involving the song 'Blackbird' that didn't work (and ground the show to a halt at that point) and the "hippie" image that some of the later costumes depicted were tired stereotypes (and annoyed me, I mean, can't you be more witty than bad beards and headbands?). These are minor complaints next to the overall experience.

Turn off your mind relax and float downstream. 'Love' is all you need.

http://www.myspace.com/tpmlastblog

"ACCESS HOLLYWOOD" TO BROADCAST EXCLUSIVE IN-DEPTH LOOK AT THE BEATLES LOVE BY CIRQUE DU SOLEIL HOSTED BY NANCY O'DELL AND BILLY BUSH

Exclusive Interviews with Paul McCartney, Ringo Starr, Yoko Ono & Olivia Harrison Featured

Backstage at the "Love" Cirque show. (Photo by Tom Myers.)

New York - August 9, 2006 -- "Access Hollywood" takes an exclusive in-depth look at the The Beatles LOVE, the highly acclaimed latest Cirque du Soleil production, in a one-hour program hosted by anchors Nancy O'Dell and Billy Bush.

"Access Hollywood" has been allowed exclusive access to LOVE, which brings the magic of Cirque du Soleil together with the spirit and passion of The Beatles music to create a vivid, intimate and powerful entertainment experience. The special, airing August 19, features behind-the-scenes of the production from its earliest stages and exclusive interviews with Paul McCartney, Ringo Starr and Yoko Ono and Olivia Harrison. The special also reveals secrets of Cirque du Soleil stunts and features interviews with Cirque du Soleil founder Guy Laliberté and LOVE director Dominic Champagne, as well as the creative team behind this spectacular production.

In the special, McCartney tells "Access Hollywood," "I'm very proud of course of the music we made with The Beatles and I am very privileged to have been there from the first track to the last track. I can hardly believe it. It's a slightly strange feeling. You know it's like I wake up some mornings and think I was in The Beatles? There's only four people can say that in the world, in the universe and I'm one of them, you know."

"Access Hollywood" is also granted an in-depth look at the music behind LOVE, including footage shot at Abbey Road studios with Sir George Martin and his son Giles, who together, using the master tapes at Abbey Road Studios, created a unique soundscape for LOVE (the album for which is currently being worked on at Abbey Road studios by George and Giles for release later this year.)

This joint artistic venture marks the first time that The Beatles company, Apple Corps Ltd., has agreed to a major theatrical partnership. The project was born out of a personal friendship and mutual admiration between the late George Harrison and Cirque du Soleil founder Guy Laliberté. LOVE is performed exclusively at The Mirage in Las Vegas.

The special airs August 19 from 9 - 10 p.m. EST/PST and 8 - 9 p.m. CST exclusively on the NBC Owned and Operated television stations. KXAS, NBC's Owned station in Dallas will air the show on August 20 at noon. LOVE will be rebroadcast on September 2 & 3 on "Access Hollywood" affiliate stations nationwide in "Access Hollywood's" regularly scheduled time periods (Log on to AccessHollywood.com to check local time and station). Rob Silverstein and David Saltz serve as executive producers for the special with, producer Michael Soares, director Richard Plotkin and senior producer Claudia Eaton.

Hi, there--

Well, no, I still haven't made it out to Las Vegas to see Cirque du Soleil's latest, The Beatles' "Love." But that didn't stop me from writing about it! :-) Here's an article from the new August 2006 edition of Live Design Magazine about the sound design for the show, including interview with Giles Martin, Beatles producer George Martin's son, who created the music for the show with his dad. Giles is a pretty cool guy, and really put his heart and soul into this project: http://livedesignonline.com/mag/sound_love/

There's another article in the same issue (by staff writer Ellen Lampert-Greaux) with more general info about how the show is run/designed. That's at: http://livedesignonline.com/mag/love_need/.

Hope you enjoy it!
Matt Hurwitz

Update (8/2/06)

Update (7/25/06)

Update (7/14/06)

Update (7/12/06)

LOVE Premieres in Las Vegas

Friday 30th June: Over 4000 guests of Apple Corps Ltd, Cirque Du Soleil and The Mirage gather to celebrate the launch of LOVE in Las Vegas.

This historic evening started inside The Mirage where celebrities and VIPs strolled the red carpet lined with fans and photographers. Our contest winner Sabin Mills from Stafford, Virginia and his friends also made their way between the crowds along the red carpet to the Premiere.

Inside the theatre, excitement and anticipation filled the air as guests took to their seats and eagerly awaited for LOVE to begin… Backstage the cast and crew were going over a few final details, waiting for their cue to begin.

An hour and a half later, the show was over - but not the applause. A standing ovation continued as Paul, Ringo, Yoko and Olivia stepped up on stage with the show director Dominic Champagne and music director, Sir George Martin. And the crowd responded to Paul's request for "just one special round of applause for John and George."

"I loved the show and I loved the music! I think the show is really exciting. I thought the effects, the people doing their stuff, the projections were great, too much, really! I thought it was very emotional; who knew a few years ago when the Beatles were just chatting to each other making those records that we could put it to such great use. And it was emotional because two of us aren't there. Overall, it's a festival of love. Peace and love." Ringo Starr

"I thought it was beautiful. It was fantastic." Yoko Ono

Paul met with some of the performers backstage after the show: "Good night everybody, you're all great… I used to wear some of those clothes. It's fantastic, it just gets better and better, it's just beautiful, the energy is fantastic and the love you're putting into it and the skill, beautiful, thank you very much! I don't think we can say thank you enough. Thank you!"

"It's really rare that The Beatles would let their music be used - I think that's a statement in itself as to the faith they have in Guy and his creative ability." Olivia Harrison

"Tonight is an emotional time for me because it's the culmination of a dream that I shared with one of The Beatles, and today it's coming true, so I'm very happy. George isn't here tonight but seeing Olivia and The Beatles pay tribute to that dream touches me greatly." Guy Laliberté, Founder of Cirque.

The gala party that followed ran well into the early morning hours as the creators, performers and other VIP guests celebrated this historic collaboration.

You can see photos, watch video clips and find out more about the evening here: PREMIERE AND PARTY

Many thanks.
TheBeatles.com P.S. Tickets for LOVE are currently on sale, and remember you can book your seats up to 4 months in advance.

Well, well, well!

How are WE today?

Man, I just got back from Vegas where Paul McCartney and band [minus touring Abe] witnessed the premiere of the new Beatles/Cirque show, "Love"... Wow.. You all have to get out there to see it! The music, re-mixed and mashed-up by George and Giles Martin is just so colorful and different from what we all might expect.

We had a great time.. And after the show, PM asked the crowd to acknowledge George and John which they did, shouting and clapping, at which time, he bent forward and kissed and hugged Yoko.. wow, how time changes things.

We went to see Ringo's Allstar band playing the next night which was a total blast.

News here in LA... The tickets for my upcoming show at the Viper Room on Aug 2 have just gone on sale! So, get on it, kids.. last time it was jammed. We will go on at 9:30.. The boys are back from their respective tours and we're ready to play for you.

We also play on July 27th at the Malibu Inn and the 29th at the IPO festival at Fais Do-Do. Don't miss it, who knows when we'll do it again! C'mon!

And lastly but not leaslty, the interview I did for the Time After Island Time Internet radio show whilst on the road with Paul McCartney last fall will be available as a 4 part podcast, every two weeks starting today! It includes a couple of tracks from my CD "Mondo Magneto" and two live solo unplugged tracks! The interview includes info on the recording of the CD, stories from touring with Paul and a few laughs. Visit my website for more info and to subscribe: http://www.brian-ray.com/podcast.html

Love,
Brian

(thanks to SunshineLife4Me)

Update (7/9/06)

Update (7/8/06)

Hi everyone,

I recently asked the Ticket Office at the Mirage in Las Vegas if there is any age restriction for the Beatles "Love" show. Here is the reply (Guess Beatrice Mac will have to wait a couple of years...

Thank you for your e-mail. The age restriction for LOVE is 5 years of age and older. When you are ready to purchase tickets you may contact our toll free number 1-800-963-9634 or log on to www.mirage.com. If you have any other questions, please let me know.

Sincerely,
Billy Pierro
Ticket Office Manager
The Mirage

After looking through scores of press photos, here's a partial list of people that came to the prem besides Paul, Olivia and Dhan, Yoko, Jules and Cynthia, Ringo and Barb, George Martin and wife Judy, Giles Martin: Ravi Shankar and his wife, Eric Idle, Brian Wilson, Jeff Lynne, Dave Stewart, Debbie Harry, all of Ringo's band members, Corey Feldman, Barbara Orbison, David Foster, Virginia Madsen, Vicria Tennant, Helen Mirren, George Wallace, Neil Patrick Harris, Robert Goulet, Siegfried and Roy (Love replaced their show...it was rather touching to see a photo of Ringo giving Roy Horn a big hug, and Paul with his arm around him...), Billy Crystal, Kevin Nealon, Megan Mullaly, Jason Patric, Michael Richards, Wayne Brady, Shannon Elizabeth, Little Stephen van Zandt...did I miss anyone?

Update (6/26/06)

Update (6/22/06)

Update (6/18/06)

Hi, Steve--

I had the chance to interview Giles Martin yesterday (Friday) for an upcoming article for Live Design Magazine on the sound for the Cirque du Soleil Beatles "Love" show at The Mirage in Las Vegas (I interviewed him by phone). He mentioned that Paul had been in the night before (Thursday) to see the rehearsals and to check out the sound mix, which Giles has been working on continuously to refine and perfect. Paul, needless to say, was quite happy with what he heard and saw.

Update (6/17/06)

Hi Steve. I wrote this report specifically for your site because of the wealth of information you have provided over the years. Thanks, Chris Reay.

Here is my report on the Love show in Las Vegas. It's pretty long, but I was scribbling details in the dark during the show. This was a preview show, one of three with a Q&A session after the show, as related via e-mail from the Beatles website. More on that session at the end.

My wife and I arrived in Las Vegas after a three-hour drive, noticing the Mirage's top floors’ tall gold tower windows had see-through graphics for the “Love” show. We were staying overnight, so at check-in, after everything was done, we were given our room keys. They were the electronic credit-card type with the face image being the “Love” logo. I asked the reservation clerk if she could give me a couple of room key blanks as souvenirs… she happily obliged.

The “Love” theater entrance was really well done. After passing the box office, we walked through a wide hallway that had a lighted floor, changing from various colors to the Union Jack and back again. At the end of the hallway were large mirrored silhouettes of the Beatles in the “Love” logo poses. The food court area and entrance to the actual theater was quite large. Lots of bright colors, mirrors, half-dome bubble mirrors. Sort of a real-life Yellow Submarine feel. The girl greeters were dressed in powder-blue felt-like “Bobbie” outfits. The boy greeters wore long Union Jack coats, similar to David Bowie's on the “Earthling” album cover. There were also boy greeters with Buckingham Palace bearskin guard-type hats (hope they're fake – Paul might not like that). All of them spoke with fake (and poor) Liverpudlian accents. I overheard an audience member ask if the greeter was really from Liverpool. She said, “Yes, and they were signed to a ten year contact with the show.” I doubt that, as all of the greeters were 20 to 25 years old. I couldn't see them using 30 or 35 year olds as greeters. Maybe the show is contracted for ten years, but not those performers. And the accents were definitely fake.

The theater seemed remarkably small to me. We had second row seats. Even the highest seats, a third tier, looked quite good. The second and third levels appeared to be steeped quite a bit – stadium-theater style - I had been concerned that being too close to the stage would not give us a sense of what was going on around us. I think high in the first section or low in the second section would be the best seats, although we felt quite immersed in the show. George Martin's classical music from “Yellow Submarine” played quietly. A couple of performers dressed as street urchins wandered around, interacting with the audience. The two boy performers were trying to get each section of the audience to compete for the loudest roars, etc. A girl performer, who came to our section, was climbing over seatbacks to get to people. She had a large stamp and pad with the word “Love” on it. Some people seemed a bit apprehensive to get marked, but we called over to her and she stamped my wife's left check, and then both of mine. The guy next to us, from Dallas, Texas got his arm stamped, and then a man behind us let the girl stamp his forehead.

I concentrated on noting the music, but the costumes and screen shows were also excellent.

Right on time at seven o'clock the show started. A lone man came on stage with a bouquet of flowers. The acapella version of “Because” started to play, one line and then a five-second break, a second man with flowers, another line with a five-second break, a third man, etc., until four men with flowers entered the stage. The stage went dark as the men disappeared.

An extended version of the drum solo from “The End” played (it was a loop of Ringo's solo mixed around). The intro to “Get Back” started, and as the main part of the song began, the lights flashed brightly on, showing what was supposed to be a scene of a bombed-out Liverpool. Remains of brick buildings, people in the street, with Sgt. Pepper himself looking from a ruined building top. As “Get Back” was finishing, actors burst through the brick walls (which were actually foam). Almost immediately a voice-over was heard telling the performers to stop. All lights were turned on and the actors were told a code regarding the incident. All on stage started picking up bricks and other debris, tossing it down the open stage platforms. The lights started to go down within thirty seconds, with the performers still rearranging the stage areas. In the darkness, the Beatles voices came up. Studio chat, false starts, lots of chitchat between the Beatles. Most I had heard before, but maybe twenty percent was new to me. That lasted about ten minutes. As the show was starting again, the Beatles chat turned to stuff like, “OK, let's try it again, etc.” The last minute or so of “Get Back” played again and became mixed into the instrumental of a very slowed down “Glass Onion.”

A Volkswagen Beetle (just the shell – no windows or engine), identical to the “Abbey Road” cover, “drove” across the stage. It even had the correct license plate!

“Eleanor Rigby” played next. Instrumental first, then Paul's vocal, and then both. The war-wounded were wandering around. Sgt. Pepper picking up twisted instruments, people stumbled around, a very elderly looking Eleanor Rigby among them. Father McKenzie was a disturbing figure in a long black robe, pointed hat, with a large cross around his neck. He held a book (Bible?) in one hand, a cross in the other, and waved around his other two arms. Yes, a four armed monster with hideous features, chastising those around him.

“I Am The Walrus” was next, followed across the stage by a Volkswagen Beetle made entirely of wrought iron. Again, see-through, with no engine, etc.

Next up, “I Want To Hold Your Hand.” The studio version, with an Ed Sullivan intro. Screaming “fans” in period gear running everywhere.

“Drive My Car,” mixed with the “Taxman” guitar solo, “What You're Doing,” and “The Word.” Absolutely crazy, but it sounded great.

As large silhouettes of separate Beatles were shown on four separate screens hanging down on different areas of the stage, “Magical Mystery Tour” morphed with an instrumental from the “Help” soundtrack (that inclusion surprised me) and “Sun King” vocals played backwards.

“Something” with a different George vocal was next (possibly the “Anthology 3” version).

“Being For The Benefit Of Mr. Kite!” followed. As the circus noises began, the instrumental ending of “I Want You (She's So Heavy)” played, along with parts of “Helter Skelter.”

Large skate ramps appeared next as “Help” was played. The skaters wore helmets that looked like Beatle haircuts. Sounds sort of cheesy, but the costumes were all quite innovative. The skating was done with stage lights on, but in the “Love” program sold in the lobby the photo of the skating set showed the act being done with black lights on.

The only part of the show I didn't like was next. More comments on this in my Q&A session review. Bird noises played as the MC performed a spoken word version of “Blackbird” while four “birds” performed a physical comedy act. Paul's version of “Blackbird” began as the bird act ended.

“Blackbird” turned into “Yesterday,” as Sgt. Pepper walked the stage with instruments piled high in a cart. Then “Fool On The Hill” was played until it faded into studio chat of the Beatles preparing to play a song.

Take One of “Strawberry Fields Forever” progressed into a later version (ala the “Anthology 2” CD). As the standard version of the song played, it was mixed with pieces from “Penny Lane,” then “Piggies,” then “Oh! Darling.”

As the songs faded and the end drumming of “SFF” played, up came the music only track of “Tomorrow Never Knows” mashed with the vocal track of “Within You Without You.” Those two songs together seemed to get the biggest applause. I thought it was the musical highlight. This was also an audience participation part of the show. A “bed sheet” was pulled from a bed and grew to the edges of the stage, where it was handed to the audience, who passed it towards the back of the theater. As “TNK” and “WYWY” ended, the sheet quickly and smoothly was pulled back into the bed and disappeared.

The first musical notes of “Lucy In The Sky With Diamonds” were played very slowly and deliberately over and over again. I recognized the song as something familiar, but couldn't put my finger on it. As the song was slowly sped up, it came to me. A very different feel for a familiar song. Then played at normal speed, “Lucy” appeared from the ceiling, flying over the audience. Somewhere during the song it was switched to playing backwards, but it fit together really well. "Newspaper taxis" were supposed to fall from the ceiling, but only one section of the audience got twenty or so papers.

A really clever mix was next. The musical track of “Goodnight” played as Ringo's vocal from “Octopus's Garden” was overlaid at a slower tempo. Ringo's words were somehow stretched to fit “Goodnight,” but sounded perfectly normal. It was as if Ringo had originally sung “Octopus's Garden” with the “Goodnight” instrumental. The stage and performers appeared to be underwater. Floating jellyfish, etc. The regular version of “Octopus's Garden” faded in eventually and ended with the “Sun King” end sound effects.

Up next was “Why Don't We Do It In The Road?” as a “pregnant” dancer came to center stage. She performed to “Lady Madonna,” which was mixed with “Hey Bulldog.” The creepy Father McKenzie wandered the stage.

Another interesting mix was next. “Here Comes The Sun” instrumental track with a prominent sitar was played with George's vocal of “Within You Without You” stretched to fit the first verse (ala the Ringo songs played a few minutes earlier). The Sgt. Pepper character appeared as an Indian Guru (long beard, etc.).

“Sgt. Pepper's LHCB” was blended with “Come Together” as “hippies” overran the stage. An oversized British phone booth was center stage, surrounded by angled trampolines. “Secret Police” chased those on stage as “Revolution” and “Back In The USSR” played. Performers jumped from the phone booth to the trampolines, as girl dancers gave out flowers.

As the act was finishing, a slowed-down version of George singing “While My Guitar Gently Weeps” was played. It was the “Anthology 3” take, but with an orchestral arrangement added. I hadn't heard the strings before. (More on that during the Q&A review.) The projections shown were letters from the song falling like raindrops.

The early demo of “A Day In The Life” turned in to the finished version. The “Abbey Road” Volkswagen came on stage as Father McKenzie circled. He started to pry at the car, which suddenly “exploded” into pieces carried by performers. It was unreal! Ten performers were holding umbrellas with the VW body parts at the ends. Although not much else happened on stage during the song, the Volkswagen pieces were run around the outer edges of the stage as the orchestral end of the song built up. As the music rose, strobe lights flashed faster and faster. The final piano note was thundering. I play my music loud, but this note went through you like the blast of a bomb. Incredible!

As the stage lights came up, “Hey Jude” played. An instrumental take first, then with vocals added. It wasn't the full version, but I could hear more layers in the “Na, Na, Na” part than before. Red “petals” began to drop from the ceiling as the “Sgt. Pepper's (Reprise)” faded in and out. Streamers exploded from somewhere, covering the audience (at least the front sections). Petals flew from underneath umbrellas.

The performers then circled the stage walking clockwise and waving to the audience, as “All You Need Is Love” played. Giant screens showed various periods of the Beatles – playing at Shea, the rooftop concert, Budokan, Let It Be, MMT, etc. The large video images were made up of thousands of smaller video images of the Beatles.

As the audience left, those of us with e-mails allowing us to stay moved to a section of the theater opposite to where we were. After all were seated, the stage lights came up and various artists joined us.

The Show Director/Writer was in Canada, so his assistant of many, many years was there in his stead, along with the Head Costume Designer, Projections Designer, and Sound Designer. A few minutes later we were joined by a female dancer and the actor portraying Sgt. Pepper. Having make-up removed had slowed them down. The “host” was one of the show producers.

He was either Canadian or American, as was the Sound Designer. The Assistant was French, along with the Costume and Projections designers. The girl performer was an American who auditioned in Canada. Sgt. Pepper was also French. All were extremely down-to-earth. You could tell the non-actors weren't comfortable talking to a large group, but they did fine.

First audience question, "What went wrong?” Lots of laughs from everyone. “One of the foam bricks had blocked a sensor on the elevator platforms.”

“What is the idea of the show? Songs don't totally follow a strict timeline.” “The idea is to start with WWII and ‘Get Back.’”

“Was "While My Guitar Gently Weeps” accompanied by new music?” “Yes, George Martin composed it and had it approved by Olivia Harrison.” It was typical George Martin. Classy, without being syrupy.

All music and new mixes were created by George and Giles Martin. After the “Love” director approved the songs they would then play the tracks to Paul, Ringo, Olivia, and Yoko for approval.

A question was asked regarding the size of the sheet used to cover the audience. The sheet is 16,000 square feet. It was originally smaller, but didn't cover the audience. In fact it still misses a few rows in the back, so it is to be added to in the next day or so. The main convention room of the Mirage is the only area in the building large enough for workers to spread the fabric out and increase it. They “Love” producer was happy to let everyone know that the sheet is larger than the one at the “Zumanity” Cirque show. A little cross-town rivalry.

The one real audience critique was regarding the shows’ beginning being slow – the part with “Because” spread out, and the actors with flowers. I thought it was fine, setting a certain poetic mood. The producer said they planned to shorten it.

Originally planning included incense, but the theater's sensitive fire alarms kept going off. There is a lot of stage smoke that enters the audience during the show, but the alarms are fine with that.

Other non-Beatle music questions were asked, which I didn't write down. But I did lag behind and talked to Jonathan Deans, the Sound Designer – the man at the mixing console.

I asked him about a CD release. He said, “November for sure. Possibly a 5.1 mix.”

I asked if George Martin and son were around (I brought a Beatles/George Martin photo to have signed – just in case). “They left for England the day before, but would return in time for the Premiere.” I asked if Sir George was a cool guy?… “The best there is,” he said.

Sound-wise, there are 6,341 speakers in the theater. The seat backs and headrests have speakers in them, which I couldn't hear… “Probably because I was so close to the stage sound system,” said Mr. Deans.

The new 16-track masters were digitized and stored uncompressed on a 32-track hard drive. Mr. Dean said the playback is a 25.5 format (5.1 times 5). All of the music can be played in short loops if there is a problem. In the event of technical problems there are many snippets of studio chat and breakdowns

I told him how I felt like I was inside Ringo's drum kit on the rockin’ numbers. I said the sound was great, but I wouldn't complain if they cranked it to 11. He said they had to compromise, to keep everyone happy. One track even had layered Ringo's drums from the studio with a Shea Stadium take. Mr. Deans said they matched perfectly.

Lastly, I told him what a lucky guy he is... but then said, “Well, you're where you are because you're the best.” A really nice fellow who gave of his time and didn't rush me away.

The last person I talked to was the Producer. I wanted to remark on the “Blackbird” act, but didn't want to criticize, in front of the audience, what I thought was a fantastic show. I told him the “Blackbird” part really seemed to break up the flow of the show. He said he was glad to hear such criticism, and then whispered really quietly, “George Martin doesn't like that part of the show either. It is there to give the audience a break from the nonstop music and visuals, and adds the ‘Cirque Du Soleil’ comedy touch to the show.”

There was a lady handing out comment cards, who gave me a couple of extra blanks. I also got a Mirage employee to give me their “Love” lapel pin. I didn't buy a show program. $18.00 for photos of the cast and crew. The Beatle shop at the exit was very clean. T-shirts, handbags, plates, etc. Both for the “Love” show and various Beatle albums. The Capitol Box Sets were almost $90.00 each. I should have checked which mixes they were selling! The standard CDs… $22.00 each. DVDs of other Cirque shows available. Hopefully the “Love” show soon.

Bottom line – one of the most, if not the most, creative thing I have ever seen. George Martin is a genius.

A little side note – we ate at the Mirage 24hr cafe after the show. Talking to the waitress, who saw the huge stamps on our faces, we discussed the show. She enjoyed it, and employees are given free tickets whenever the show doesn't sell out. I asked about other patrons' comments, and surprisingly she said, half the people she talks to about the show don't like it. A week after seeing “Love” I'm still on a high from it!

You will be BLOWN AWAY!!!!!!!!

It was simply AMAZING, breathtaking, and awesome.

I'm going to get the "bad" (although bad is relative) out of the way first so I can get to the amazing, breathtaking and awesome parts after.

Since we were at a pre-premier show, it was expected that the show might stop to correct any glitches that came up (it apparently did that the previous night). Well, we had a curtain/screen catch that required a man on stage to fix it, but the show went on without stoppage. Might be because they had another show at 10:30 and were running on a tight schedule!! It was quickly corrected.

I think in USSR/Revolution/Come Together (all the music blends into each other sooooooo seamlessly that you have no idea when you can clap), there were a few close calls with the hippies on the trampolines, I was really holding my breath.

The one "episode" I didn't like was Blackbird! And while Something is one of my favorite songs and I loved the music, I think it would have been more effective with just the arialists (sp?) and perhaps a ballerina or two on the stage, instead of the male dancer. He was distracting, and not necessarily in a good way.

OK, that was the "bad". The rest was simply incredible. This is definitely not in any order and certainly not in the order of the songs played.

Hey Jude was so very cool, colorful and delighting, an absolute visual and audio treat.

Octopus' Garden? Simply unbelievable and one of the absolute highlights of the show for me!!! The costuming and movements were simply amazing. I know I keep using the words amazing and incredible, but this number was out of this world. Specifically, it was under the sea, but nothing silly or cartoon-ish. I think my mouth was hanging open for the entire number as I tried to watch everything at once. Very, VERY cool.

Here Comes The Sun? Incredible once I got past the contortionist (not my favorite form of entertainment). Beautiful and peaceful, simply inspiring.

The opener, Get Back? What a ROCKER! Good God, I had a big smile on my face through this and knew we were in for a treat!

Help? Wow, very, very cool!! The kids will LOVE this number!

By the way, the Cirque elements were really neat for the most part (while we're absolutely amazed and enthralled by it, I can't call us huge fans), and the music was absolutely fantastic. The sound was absolutely perfect in the theatre. I wouldn't want to sit front row, as the smoke sometimes appeared to overwhelm those guests. I was absolutely thrilled being in the second section, first row. The musical arrangements made it seem like I was hearing the music all over again, but for the first time. VERY cool!

The strings arrangement Sir George has put behind George's demo of While My Guitar Gently Weeps enhances, doesn't detract, and it made an incredibly beautiful song even more beautiful. When George sings "I look from the wings at the play you are staging.........", and I was watching this incredible feast for the eyes while listening to the incredible music, well, I definitely got tears in my eyes.

Being for the Benefit of Mr. Kite was an absolutely amazing spectacle, like some kind of dark, weird circus. I absolutely sat there with a huge grin on my face and didn't want to blink.

The "partitioning of the stage" at certain times was a little distracting, but it was all to good effect. I can't even begin to describe some of the things that went on, but they used a lot of "in studio" chatter here and there in the soundtrack, of the lads, and images on screens that blended seamlessly with the sound bytes. Very very cool, and utterly engaging.

Lady Madonna was very psychadellic, kind of a 60's/Stomp, really neat. Strawberry Fields Forever and Hey Jude were exceptionally enjoyable to watch, and Eleanor Rigby was kind of dark and ominous but still very cool.

Again, the music was fantastic, all the mixing and mashing and I can't WAIT to have the soundtrack (supposedly due out this fall?). I hope that a dvd will come out, too, but I don't think it will do justice to the show.

An amazing show, I recommend it for all ages.
Best wishes, CM

Update (5/4/05)

Update (5/2/06)

Update (4/25/06)

The Beatles Love by Cirque Du Soleil

LAS VEGAS, Nev., April 19 --

Director - Dominic Champagne,
Music Directors - Sir George Martin & Giles Martin
Preview Performances Begin June 2 at The Mirage in Las Vegas
TICKETS ON SALE TODAY!

Preview performances begin June 2 for The Beatles LOVE, the latest Cirque du Soleil production which celebrates the musical legacy of The Beatles. The Gala Premiere will be held Friday, June 30, 2006. LOVE will be presented exclusively at The Mirage in Las Vegas. This joint artistic venture marks the first time that The Beatles company, Apple Corps Ltd., has agreed to a major theatrical partnership. The project was born out of a personal friendship and mutual admiration between the late George Harrison and Cirque du Soleil founder Guy Laliberte.

LOVE will bring the magic of Cirque du Soleil together with the spirit and passion behind the most beloved rock group of all time to create a vivid, intimate and powerful entertainment experience.

Sir George Martin, The Beatles original producer, and his son Giles Martin have been working with the entire archive of Beatles recordings to create the musical component for LOVE. The result is an unprecedented approach to the music for a stage production. "After spending more than 40 years of my life working with The Beatles and their wonderful music, I am thrilled to be working with it once again, on this exciting project with Cirque du Soleil," said Sir George Martin. "The show will be a unique and magical experience."

Using the master tapes at Abbey Road Studios, Sir George and Giles have created a unique soundscape for LOVE. "I think we will achieve a real sense of drama with the music, the audience will feel as though they are actually in the theatre with the band. People are going to be knocked out by what they are hearing!" said Giles Martin.

Dominic Champagne directed and wrote the original concept for the show which captures the essence of love that John, Paul, George and Ringo inspired during their astonishing adventure together. LOVE evokes the exuberant and irreverent spirit of The Beatles. "When we embarked on this extraordinary adventure in 2002," said Gilles Ste-Croix, Show Concept Creator and Director of Creation, "we set out to create a timeless, three-dimensional evocation of The Beatles music. Drawn from the poetry of the lyrics, we developed a preliminary concept that explored the content of the songs in a series of scenes inhabited by real and imaginary people." The international cast of 60 channels a raw, youthful energy underscored by aerial performance, extreme sports and urban, freestyle dance.

LOVE will be presented in a custom-built theatre at The Mirage featuring 360-degree seating and advanced high definition video projections with 100-foot digital, moving images. The panoramic surround sound system will envelop the audience who will experience The Beatles music like never before....

Apple Corps Ltd. is planning to release the album through EMI Music later this year.

Cirque du Soleil Creative Team:
Guy Laliberte -- Guide, Show Concept Creator
Dominic Champagne -- Director, Show Concept Writer
Gilles Ste-Croix -- Director of Creation, Show Concept Creator
Chantal Tremblay -- Associate Director of Creation
Jean Rabasse -- Theatre and Set Designer
Philippe Guillotel -- Costume Designer
Jonathan Deans -- Sound Designer
Yves Aucoin -- Lighting Designer
Francis Laporte Video Projection Designer
Hansel Cereza and Dave St-Pierre -- Choreographers
Guy St-Amour -- Acrobatic & Rigging Designer
Daniel Cola -- Acrobatic Performance Designer
Nathalie Gagne -- Make-up Designer
Patricia Ruel -- Props Designer
Michael Curry -- Puppet Designer
Guest Creators:
Andre Simard -- Aerial Acrobatic Designer
Alexis Martin -- Dramaturgist
Francois Perusse -- Comic Audio-clips Designer
For Apple Corps Ltd.:
Sir George Martin -- Music Director
Giles Martin -- Music Director
Neil Aspinall -- Executive Producer

Tickets to LOVE go on sale at 12:01am EDT April 19.
TICKET PRICES: *$150, $125, $99, $69
All preview performances* will be discounted 25 percent.
*Preview performances for LOVE begin June 2 and run through June 29. During these performances, the creative team is in the very final stages of creation. The audience's reaction and participation is an important step in this process. The artistic direction of LOVE reserves the right to interrupt the performance to make adjustments as necessary.

SHOW SCHEDULE: Preview performances will be presented nightly at 7:00pm. In addition, there will 10:30pm performances on limited dates. Please consult the most current show schedule at www.cirquedusoleil.com Schedule is subject to change without notice.

Following the Preview period, LOVE will be performed Thursday through Monday with no shows on Tuesdays or Wednesdays. Beginning July 1, there will be two shows nightly at 7:30pm & 10:30pm

TO RESERVE TICKETS: By phone: 702 792 7777 or 800 963 9634. Online: www.cirquedusoleil.com , www.thebeatles.com or www.mirage.com

In person: At the LOVE box office at The Mirage or any of the MGM MIRAGE box offices in Las Vegas. Ownership of the trademarks: Apple Corps Limited for The Beatles (word and design), Cirque du Soleil for Cirque du Soleil (word and design) and The Cirque Apple Creation Partnership for LOVE (word and design). Trademarks used under license.

SOURCE: Cirque du Soleil; Apple Corps Ltd.

Update (4/10/06)

Yesterday, Montreal papers ran articles on Francois Pérusse a local stand up comic, radio personality & a huge star here and in France for his sound-collage using mashups of celebrities audio and found /manipulated sound. His album ALBUM DU PEUPLE has sold 1,3 million copies, and over 100thousands of his DVDs. Francois Pérusse it appears is now working for the Cirque du Soleil show on the Beatles. He was hired to create a collage using voices from JPGR, from original interviews/clips they gave since the 60s . One article says "hundred of hours ", the other says he was provided with ten hours.

He has been working on this for the last 18 months, in secret, reporting directly to George Martin and to the show artistic director Dominic Champagne. Champagne hired him after seeing a film titled Cortex Academy which was presented at Siggraph and other animation film fests - the film using Pérusse audio source as soundtrack which went on to win a dozen awards around the world.

Pérusse was expected to fly yesterday to Las Vegas, where he will be working at the Mirage testing his collage with the show engineers. He said he couldn`t reveal any details about the show, but while humourous, his collages would not involve "tampering with " the Beatles voices.

Richard
ONOVOX
http://www.jeclique.com/forum/onovox

Update (10/15/04) Here's the press release issued Thursday announcing the Beatles-Cirque du Soleil venture:

Cirque du Soleil, Apple Corps Ltd. and The Mirage Partner to Create an Unprecedented Live Theatre Production LAS VEGAS, Oct. 14 /PRNewswire/ -- Cirque du Soleil, Apple Corps Ltd. and The Mirage announce a partnership in which they will celebrate the musical legacy and extraordinary experience of The Beatles in an unprecedented live theatre production opening in 2006. This joint artistic venture marks the first time that The Beatles' company, Apple Corps, has agreed to a major theatrical partnership.

The production will be Cirque du Soleil's fifth resident show in Las Vegas and will be presented at The Mirage, the resort that changed the face of Las Vegas when it opened in 1989.

The project was born out of a personal friendship and professional admiration between the late George Harrison and Cirque du Soleil founder Guy Laliberte. "This show is about living The Beatles experience," said Guy Laliberte. "We want to bring the magic of Cirque du Soleil together with the spirit and passion behind the most beloved rock band of all time to create a single, simple statement of delight."

Neil Aspinall, Managing Director of Apple Corps, said, "In the past, The Beatles have been approached with theatrical proposals which never promised much beyond a traditional presentation. However, in Cirque du Soleil, Apple is fortunate to have found a creative partner with the same passion for innovation and excellence."

Robert H. Baldwin, President and CEO of Mirage Resorts, said, "This partnership builds on the solid relationship that already exists between MGM MIRAGE and Cirque du Soleil. We too are thrilled that the union between two premier entertainment icons, The Beatles and Cirque, will come together at The Mirage."

Gilles Ste-Croix, Vice President of Creation and New Project Development at Cirque du Soleil, revealed key members of the artistic team will include Cirque du Soleil writer-director Dominic Champagne and The Beatles producer Sir George Martin.

Sir George, who will oversee the music element of the show, said today, "After spending more than 40 years of my life working with The Beatles and their wonderful music, I am thrilled to be working with them once again, on this exciting project with Cirque du Soleil. The show will be a unique and magical experience."

While the project has the approval of Sir Paul McCartney, Ringo Starr, Yoko Ono and Olivia Harrison, Paul and Ringo will not appear in the production. "It is a fantastic project for us and I personally am excited to collaborate with such a great creative team," Paul McCartney said.

"How excited can I get -- The Beatles, Cirque du Soleil, an incredible venue in Las Vegas -- what could be better," said Ringo. "I'm looking forward to the first show 'cause I'm going to be there and I hope you are too."

"The Beatles and Cirque. I think it's a great combination: The Beatles' agile mind and Cirque's agile body," said Yoko Ono.

"George and Guy shared the same vision. They planned to utilize the extraordinary creativity of the Beatles and Cirque du Soleil to produce an uplifting moment in time. We are all very happy to see this project come to fruition," said Olivia Harrison.

Additional details of the content of the show, which aims to revisit the excitement of the remarkable era when Beatlemania ignited the world, are in creative incubation.

"The music was the obvious starting point so we approached it with great respect," said Gilles Ste-Croix, "We consider the music of The Beatles to be as significant and influential as any of the great works of art in history. We intend to not only explore their artistic contribution but to tap into their exuberance and irreverence by harnessing, to the heart of this production, the astonishing energy that they generated."

Since its founding in 1984, Cirque du Soleil has thrilled more that 40 million spectators in more than 130 cities on four continents. With its international headquarters in Montreal, the organization has been the recipient of such prestigious awards as the Emmy, Drama Desk, Bambi, ACE, Gemini, Felix and the Rose d'or de Montreux. The Mirage production will be the fifth Cirque du Soleil show at an MGM MIRAGE property, joining "O(R)", Mystere(R), ZUMANITY(TM), Another Side of Cirque du Soleil(TM) and the latest creation, KA(TM), opening this year at the MGM Grand. For more information visit the Cirque du Soleil website at http://www.cirquedusoleil.com.

Apple Corps Ltd. was founded by The Beatles in 1968 to look after the group's own affairs. The London-based company has administered the catalogue of The Beatles releases of the 1960s that have sold to date more than 600 million records, tapes and CDs. Since the 1990s Apple has piloted new Beatles projects that have become benchmarks for pioneering accomplishment and which have included The Beatles Anthology projects, the 26 million-selling album The Beatles 1 and the acclaimed Let It Be Naked CD. Further information on The Beatles' projects can be found at http://www.thebeatles.com.

MGM MIRAGE (MGG) is one of the world's leading and most respected hotel and gaming companies. It owns and operates 12 casino resorts based in Nevada, Mississippi, Michigan and Australia and has investments in two other casino resorts in Nevada and New Jersey. The company is headquartered in Las Vegas, Nevada, and offers an unmatched collection of casino resorts with a limitless range of choices for guests. Its portfolio of brands include AAA Five Diamond award-winner Bellagio, MGM Grand Las Vegas -- The City Of Entertainment, The Mirage, Treasure Island ('TI'), New York New York, Boardwalk Hotel and Casino and 50 percent of Monte Carlo, all located on the Las Vegas Strip; Whiskey Pete's, Buffalo Bill's Primm Valley Resort and two championship golf courses at the California/Nevada state line; the exclusive Shadow Creek golf course in North Las Vegas; Beau Rivage on the Mississippi Gulf Coast and MGM Grand Detroit Casino in Detroit, Michigan. For more information about MGM MIRAGE, please visit the company's website at http://www.mgmmirage.com.

For further information, visit http://www.cirquedusoleil.com and click on PRESS ROOM.

I have noticed twice now, most recently in the news regarding Cirque de Soliel, that Yahoo news is using a picture of The Bee Gees at the RNR Hall of Fame on their articles about the Beatles. Just thought you'd get a laugh out of that. Keep up the great site!!!

(10/14/04) A theatrical production to replace the Siegfried and Roy show at the Mirage in Las Vegas will feature the music of the Beatles and acrobatics of Cirque du Soleil, reports the Associated Press. Neil Aspinall, managing director of the band's Apple Corps label, announced the show, which is the first theatrical partnership entered into by the Beatles. Paul McCartney and Ringo Starr will not appear in the show, but will have input, as will Olivia Harrison and Yoko Ono, the widows of George Harrison and John Lennon. The deal between Cirque du Soleil, Apple and The Mirage was reached this week, said Bill McBeath, Mirage's president and chief operating officer. The show, not yet titled, could cost more than $100 million. McBeath said it should be ready in about 20 months. (No doubt, the show will feature "For the Benefit of Mr. Kite.")