Cirque du Soleil needs a new hit, and they’re turning to the King of Pop to provide it.
When “Michael Jackson – One” opened at Mandalay Bay Hotel and Casino along the Las Vegas Strip, it became Cirque’s latest multi-million dollar production and the first to open since the accidental death of performer Sarah Guillot-Guyard during a production of KA at MGM Grand.
Even before the Guillot-Guyard tragedy, Cirque was struggling with the kind of troubles the international entertainment juggernaut hadn’t really experienced – such as declining attendance and the early closing of two of its most prominent productions.
“Viva Elvis” – in many ways the direct predecessor of “One,” since it was inspired entirely by the work of a single artist – opened to great expectations at the Aria and closed after only three years when most experts expected to run through the decade. While this reviewer thought it was easiest the most fun any Cirque production managed to date, it seems as though Elvis Presely fans found it too “Cirque,” and Cirque fans found it to be too “Elvis.” At any rate, “Zarkana” now inhabits what was once the home of “Viva Elvis.”
In Hollywood, “Iris” was meant as Cirque Soleil’s salute to the movies when it opened in the then Kodak Theater. It also failed to gain long term traction and closed early.
Those are two big dents in Vegas’ single biggest live entertainment entity. So, there’s a lot riding on this. “One.” After years in development, “One” opened at the Mandalay Bay with a star-studded Vegas party premiere with piles of local and international publicity.
The co-production from Cirque du Soleil and the Estate of Michael Jackson opened before the likes of Guy Laliberté, Katherine Jackson, Prince Jackson, Blanket Jackson, Jackie Jackson, Marlon Jackson, Tito Jackson, Justin Bieber, Neil Patrick Harris and Spike Lee.
As attendees walk into the theater, an open bar serves up signature cocktails, including (of course) the Moonwalk. Ushers and staffers wear appropriate MJ attire, including fedoras.
Once inside the show space, producers waste no time confronting the troubled aspects of Jackson’s life. There’s no need to rehash the accusations here as most people know all about them and have already taken up sides on guilt or innocence. So, faux tabloids filled screens, pointing to how Jackson’s life was constantly scrutinized.
The show opens appropriately with “Beat It,” before highlighting MJ’s origin in Motown’s Jackson 5. This might’ve been the most emotional segment of the program for Jackson’s most passionate fans as tears flowed for many – as though the site of the innocent talented boy contrasted by the troubled, ravaged figure who died too early was too much.
Of course, any Cirque production is much more than music. Room must be made for athleticism, acrobatics and dancers. While there was plenty of the latter in inspired numbers synched to “Billy Jean” and other hits, a departure for this show includes the very sensual “Dirty Diana” as a the title character tempted the audience with a sexy performance on a curved pole.
The most stunning show highlight has to be the 3D holographic Jackson dancing with Cirque performers to “Man in the Mirror” – as though his ghost is on hand for each performance.
In the end, “One” will face the same test under fire that “Love” passed and “Viva Elvis” failed. Jackson fans will love the production, but the key question will be if general audiences find the blend of MJ music and Cirque performance appealing over the long term.
John Scott Lewinski contributed to this report.
