Above every other aspect of KÀ, the technology used in this production represents a revolution for live theatre. The unprecedented use of technology at an incredible scale often leaves the spectator breathless. KÀ's production values are immense. Several emerging theatrical technologies are brought together in this show with the overall effect of making the staging as fluid as possible, enabling scenes to shift quickly in and out like a movie. Director Robert Lepage's goal is to tell the story on stage using the "language of cinema" and he aims to achieve this goal through inventive use of technology.

For KÀ, set designer Mark Fisher (known for his big, flashy rock concert sets) made a conscious decision to design the stage, set and auditorium together as an integrated concept. The thematic journey extends right into the lobby and the spectator's journey begins at the transition from the casino to the theatre lobby. The dimly-lit themed lobby suggests the hull of a large wooden ship, inside which the concessions counter and bar are located. Across the ceiling the strings of a large harp cross the lobby.

As the spectators enter the showroom via one of two doors on either side of the lobby they pass under a crisscrossing, multi-level system of catwalks. The 1,951-seat showroom is immense and cavernous; suggestive of an underground cave or mine. The entire theatre is inhabited by characters and throughout the performance characters roam the theatre and catwalks.

But the most striking feature of the performance space is not something in the showroom but something missing; a stage. At the front of the auditorium where a proscenium arch and stage would traditionally reside, there is instead a raised ledge overhanging an immense, smoke-filled void. There is not even a vague hint at what the performance will entail as all scenery, acrobatic equipment and props are hidden. The show's intricate scene-changes are made possible by a series of lifts that fly up and out from the void.

A set of five irregular shaped hydraulic lifts line the front of the void, raising and lowering at different points in the show to create; a storm-tossed boat, a balcony overlooking the mines, a forest of tree stumps for a dramatic chase scene, and a performance space for a dance.

A 9-meter by 9-meter (30' x 30'), 34-ton "Tatami Deck" is stowed at the back of the space and can slide out over the void like a drawer.

But the star of the show and the most dramatic lift is the pragmatically named "Sand-Cliff Deck". This deck measures 15 meters (50') in length, 7.6 meters (25') in width and 2 meters (6') in depth, weighs 159 tons, houses three trap-door/elevators and 80 individually controlled pegs that pop out from surface and allow performers to climb and perform on the deck while it is near vertical. The Sand-Cliff Deck is attached to a large gantry crane that allows the deck an enormous range of dynamic movement. The crane can simultaneously lift (at speeds up to 2 feet per second), tilt (to an angle of 100º from horizontal) and rotate (one full 360º revolution) the deck at various speeds to create stunning effects.

Additional set elements, like a mass of large columns and hanging scenery representing a forest canopy, are flown in from the wings and rigging equipment for the climactic aerial battle is stored in the flies of the theatre. For the battle, the twenty or so "vertical" performers are rigged to automated flying winches which they control themselves via small joysticks concealed in their hands. For example, when a performer "walks up" the wall he commands the winch to pull him up at a certain rate and he "mimes" walking at a speed that matches his upward motion.

Safety is a big issue when dealing with such immense heights and large moving platforms. During the performance, there is a system of retractable safety nets and inflatable airbags hidden in the void. The safety system is quickly flown in place during the more dangerous sequences of the show where performers jump from the decks.

While the Sand-Cliff Deck is in its vertical orientation it is often used as a projection screen to further complete the imagery Throughout the show an innovative interactive projection system developed by Holger Förterer produces images that move with the performers. For example; when the performers leap onto the deck in the final battle scene their landing causes a ripple like a pebble in a pond. The projection system utilizes an infrared (heat sensitive) camera situated beside the projector to sense the position of the performers and feeds this information to a computer that adjusts the projection accordingly, in real-time. The effect is quite unique and produces a fantastic illusion.

To further extend the action "on stage" to the audience, sound designer Jonathan Deans has worked meticulously to fill the massive theatre and create a very exact sound environment where specific sound cues are focused and add effects to the action in the performance. Each seat in the KÀ is fitted with a set of stereo speakers that are used at different times to accentuate the music, produce ambient sound effects or to heighten the sound environment. The sound design is revolutionary in the way that it completely envelops each individual spectator.

Text written by Wayne Leung, as published in the "Fascination! Newsletter".