There's a lot of "firsts" surrounding "Beatle Love" at the 2000-seat, totally rebuilt theater at the Mirage where Siegfried & Roy once ruled.

It's the first Cirque du Soleil spectacular—five are currently playing in Las Vegas—built around an outside, pre-existing concept. It's also the first time that Apple Corps Ltd. has entered into a joint effort of this kind.

The 90-minute, $150 million production featuring 360° seating, high-definition video on a 100-foot screen, and panoramic surround sound is a collaborative effort principally between musical producers, Sir George Martin and his son Giles Martin, for Apple Corp. Ltd., and Cirque du Soliel's creative team, headed by founder Guy Laliberté and Cirque's Dominic Champagne, who directed and wrote the original concept.

But two other collaborators stand out in this hugely ambitious production: sound designer Jonathan Deans, and the Norwalk, Ct and Santa Monica, Ca based firm of JaffeHolden who directed the acoustical reconstruction of the theater.

"We knew this space would have acoustic issues," says JaffeHolden's, Mark Holden. "First of all, it's round, and secondly we knew that there would be 6000 loudspeakers in operation. Sound could originate in any location, so every possible surface, material and element had to be evaluated. We tested materials, fabrics and sound elements in our acoustic chamber in our labs in Norwalk.

"In addition, due to the unique program material, the client was concerned with a number of acoustic issues that go way beyond the typical Cirque show: controlling mechanical noise form huge air systems, 10 times the size of a typical theater; controlling noise from the complex rigging, lifts, and trolleys that Cirque uses; controlling noise from backstage activities—actors, artists, and technicians doing their work; and making the hall sound fantastic for this special re-mix of Beatles songs."

Leading the list of acoustic concerns, however, was the shape of the hall itself. "The geometry of halls with seating in the round present unique acoustic challenges, says Holden. "The high probabilities for echoes, late reflections, and dead spots, can seriously affect the clarity of sound and generally downgrade the entire theatrical experience for audiences and performers, as well as audio technicians."

Acoustic treatment of the hall included pyramid-shaped acoustic diffusers that reduce the focusing effect of curved walls and evenly distribute the sound about the vast room, and fabric-wrapped wrapped panels on targeted surfaces to absorb sound. "A common design error," says Holden, "is to over-do the absorption and render the room too dry which takes the energy and life out of a hall."

JaffeHolden worked hand-in-hand with sound designer Jonathan Deans, the sound designer of dozens of Broadway musicals and Las Vegas spectaculars, to support the sound experience imagined by Cirque's creative team . "We worked at a breakneck pace on the design," says Holden. "The demolition of the old theater was done long before the design was complete, and construction was well on its way as we put the finishing touches on the acoustic treatments."

Robin Glosemeyer, the director of the JH West Coast office was project manager for the Cirque project with Brian Corry working as the JH acoustical consultant.
"The new Mirage auditorium for Cirque had may opportunities for instant acoustic failure due to it's unique size and shape," stated Jonathan Deans. "JaffeHolden has achieved my expectations beyond what I had imagined possible."

"Beatle Love," is slated for a 10-year run, two shows a night, five nights a week.

The show ends with "Hey Jude" and "All You Need Is Love" as an encore. Obviously, love is involved here, but sometimes you also need thoughtful acoustical design too.