Michael Jackson’s legacy intimately explored in Las Vegas Cirque production

More than four years after his untimely death, the pop behemoth has commanded the world of Cirque du Soleil, first with the astoundingly popular “Immortal World Tour,” which earned bragging rights as the highest-grossing 2012 road show with more than $163 million in ticket sales, and now with “Michael Jackson One,” the latest permanent Cirque show ensconced at Mandalay Bay Hotel and Casino.

While “Immortal” is set to return to arenas next year and “One” just opened in Las Vegas this summer, there is little concern about competition because the shows are significantly different, even though both are directed by Jamie King, who started his career as a dancer on Jackson’s “Dangerous” tour.

"Immortal," which played multiple shows at Philips Arena in June 2012, tended to get lost in its own grandiosity, with a cast of more than 200 and a dizzying array of action required to gratify the senses in a cavernous arena.

“One,” by comparison, takes a step back.

It’s more intimate, both physically — the theater capacity is 1,800 — and in its sense of storytelling.

"It's a totally different approach," said Travis Payne, an Atlanta native and choreographer for both shows.

“‘Immortal’ is much more of a rock concert, and ‘Michael Jackson One’ is more of a Broadway production. There’s more detail, and sometimes you lose that in the grandeur of an arena,” Payne said.

Jackson’s music, of course, is the centerpiece — about 28 songs or pieces of songs are heard during “One.” As well, his oft-documented irritation at the press and paparazzi is presented immediately upon entering the theater on screens decorated with screaming fake tabloid covers.

But the tone shifts with the arrival of four misfit teens — Clumsy, Shy, Smarty Pants and Sneaky — who are referred to as the “Heroes” and are the vague guides through the production (keep an eye on them wandering around the crowd a few minutes before showtime).

“The characters in ‘One,’ they’re a little more pronounced because we had time to develop them,” Payne said.

Clumsy learns to dance with the help of the Jackson’s magical shoes during “Bad” and, in one of the show’s most tender moments, Smarty Pants finds Jackson’s trademark fedora and reclaims her childlike innocence during his wistful version of “Smile.”

But the highlights of the 90-minute production come, of course, with the dancing. Though “One” features more typical Cirque-like behavior — wall-bouncing acrobatics, dazzling martial arts routines — it mostly concentrates on elaborate dance routines sprinkled with gymnastic prowess.

“One of our keywords with this show was ‘integrated,’” Payne said. “Really integrating the dance, the acrobatics. And then, of course, since it’s Michael Jackson, there’s a significant amount of dance information to include. I think we were able to find a wonderful balance. I always had to take into account the voice of Michael, what I thought he’d feel, or how he’d make it better.”

Without a doubt, Jackson would beam upon witnessing the awesome rhythmic gymnasts during “Smooth Criminal” perfectly aping his iconic “lean” and marvel at the “Cats”-meets-“The Walking Dead” costumes and faithful reproduction of dance moves during “Thriller” (careful, there might be a werewolf in the aisles).

Also helping to make “One” an immersive experience is the crisp sound. Those unaccustomed to concert-going might find it exceedingly loud (even this concert veteran popped in earplugs — a first at any Cirque performance), but you will hear the tinkling synthesizers of “Human Nature” and breathy undertones of “Earth Song” with startling clarity.

“I wanted to make sure we could sonically inspire the entire room. You can have a ton of speakers, but it’s all about making the technology seem transparent,” said Kevin Antunes, musical director for “One.”

There are more than 5,800 speakers housed in the theater, in headrests and on walls and in places unseen by the audience.

Antunes said he’s heard from many industry heavyweights such as Justin Timberlake and Pharrell Williams who, after experiencing the show, had a similar comment: “Michael just sounds so clear.”

That precise sound is particularly noticeable on the show-closing “Black or White,” performed within a rousing, carnival-like scene that is a shift in tone from the pensive “Man in the Mirror,” the ending choice of “Immortal.” (Don’t worry, fans, you’ll hear “Mirror” in “One” — just a bit earlier).

Antunes said director King chose “Black or White” as the finale in part because of its iconic video that will ring familiar with the worldwide audiences who make pilgrimages to Vegas, and also to end on a powerful, uplifting note.

In keeping with that vibe, throughout the creation of “One,” both Payne and Antunes relied on the spirit of the man being honored each night through his music and legacy.

Said Antunes, “You kept Michael in your heart and let him lead you.”