“The scenic atmosphere of ZED evokes the pinnacle of the High Renaissance and the dawn of the Mechanical Age.” (—François Séguin)

The story of ZED blossoms in an environment that recalls antique astronomical and navigational instruments set in an ancient cosmos that is at the same time new and somehow familiar. In fact the set takes its inspiration from many eras and influences: ancient science, the inventions of Leonardo da Vinci, the products of the early days of the Mechanical Age, nautical instruments and astronomy all play a part in creating an atmosphere of solidity and tradition, floating in space that looks toward the future. As an example, on the floor of the stage is a representation of the Milky Way, with symbols referring to the different phases of the moon, and star placements.

An alphabet of 26 symbols, known as the Zed Alphabet, appears throughout the set and spells out the periodic table of the elements as well as other words related to the production. And five spheres of various diameters, each displaying their own special effects, form a miniature representation of an Astrolabe - a micro world that reflects the macro world. Made mostly of steel, the suspended astrolabe weights 19,504 kilograms (43,000 pounds) and is fitted with a net that can deploy and retract as needed.

To establish the set design concept, designer François Séguin started with a form inspired by the astrolabe. His underlying intention was to fill the whole stage as if it were a frame from a film, and in terms of aesthetics, his design evokes the High Renaissance and the Mechanical Age. Brass and copper components, precision engineering, painstaking craftsmanship and scientific ingenuity combine to create the impression that the audience is actually inside – and sometimes outside – a complex mechanical astrolabe floating in space. Diderot’s Encyclopedia, which began to be published in 1751, also informed the designs. “Diderot, the first French encyclopedia, codified knowledge and is filled with images of mechanical devices,” says designer François Séguin.

The theater is quite unique as it is the first permanent Cirque du Soleil Theater outside of North America (they're either located in Las Vegas or Orlando). It opened after about two years of construction and a total business cost of 14 billion yen. The distinctive Theatre roof formed with polyhedrons is designed in the image of a circus tent, the very beginnings of Cirque du Soleil. It is specifically designed to harness the sun's rays from any direction and its glass exterior definitely presents an appearance befitting Cirque du Soleil, the Circus of the Sun. By the numbers: the building stands about 35 meters high, has approximately 5,400 square-meters of building area and 14,000 square-meters of total floor space to get lost on.

Inside is equally impressive.

When the audience first enters the theatre, the set is wrapped in a large sheet and the auditorium gives no clues or visual cues as to where they are or where the show is situated. The spectacular imagery is revealed when the cover is whisked away in a sudden, sweeping gesture by a character inspired by The Fool in the Tarot. This dramatic moment instantly plunges the audience into the world of ZED.

In keeping with the physical dimensions of the theatre and the themes of the show (in which one community of characters inhabits the sky and the other community is earthbound), the set emphasizes verticality as a visual reinforcement to the narrative, as well as meeting the demands of the show’s acrobatics.

While the materials are unquestionably rich, the colors – suggesting an antique patina of burnished metals and polished wood tones – are intentionally somewhat monochrome and muted, and the look is quite dark, reminiscent of 19th century interiors. The objective is to focus more attention on the performing artists than on their surroundings.

Since this is a Cirque du Soleil show, the set must also accommodate a large amount of acrobatic rigging, lighting and sound equipment, and designer François Séguin decided to integrate it into the set as much as possible, rather than impose it on the décor. His design minimizes the visibility of all the winches, rigging, cables and the setting up needed to perform complex acrobatic numbers.

Cirque du Soleil Tokyo's stage is one of the largest in Japan with a width of about 35 meters, a depth of about 20 meters, and a height to the ceiling of about 21 meters. The open, semi-circular stage thrusts out into the audience allowing guests to feel even closer to the action. A grid above the audience covers about 1,700 square meters of the ceiling and can support a load of 750 kilograms per square meters. This grid is used for special mechanical equipment and devices that make possible various stage effects.

Such as the "basket" winch from Fisher Technical, a custom ten horsepower counterweight assist winch that provides the means for rigidly securing a four ton piece of scenic and acrobatic equipment through an enormous range of loading conditions; the "net" winches, used to deploy and tension the safety net system for the trapeze (It is a two stage machine, with the first stage rotating a large drum to pull the stage width net into its initial slack position. After engaging a huge ratchet backstop on the first stage, the second stage drives a large ball screw to pull the entire winch system backward (riding on heavy duty FTSI FastTrack) to put over 7 tons of tension on the net); and the "vortex" winches that breathe life into the breathtaking opening curtain effect (done using 25 hp motors coupled with huge drums that are over eight feet in length and four feet in diameter. At over 25 linear feet per second, the drums collect almost an acre of fabric in the blink of an eye!). Underneath the stage is one of the world's largest trap rooms with a depth of six meters. All these elements make it possible to present a show that can only be staged at a permanent theater.

The theater's 2,170 seats are arranged around the semi-circular stage with the seats at the back of the theater about 30 meters away, giving the audience a sense of being close to the action. The seats at the front of the theater are designed to allow a good view of Cirque du Soleil's spectacular aerial acrobatics and other effects by having seat backs that recline and extra space between rows. All the seats have cup holders so that guests can enjoy refreshments while they watch the show. These elements all help provide a comfortable and enjoyable ambience in the theater.

To ensure that the highest quality performance can always be presented, the backstage area includes dressing rooms that can accommodate a total of 70 performers, a training room for physical care and treatment, and a rehearsal room with a 10-meter-high ceiling where acrobats can rehearse. Also backstage are acrobatic and other equipment, a metal workshop for maintaining special equipment, and a costume shop where costumes are maintained.

Some Details:

• Made mostly of steel, the suspended astrolabe weighs 19, 504 kg (43,000lbs).
  
  
• The enormous 10m globe, which can move vertically, is decorated with meridians and parallels and fitted with a net that can deploy and retract as needed.
  
  
• Winches hidden inside the globe are used to transport the artists, stage equipment and acrobatic equipment throughout the show.
  
  
• On the floor of the stage, there is a representation of the Milky Way and symbols referring to the different phases of the moon.
  
  
• A door leading under the stage is installed inside a book that the clowns Oulaï and Nalaï find at the beginning of the show. When they open it, they plunge inside, literally engulfed by the pages.
  
  
• The Vortex, the white canvas that wraps the stage at the start of the show, comprises more than 5,600 square meters of material. Two motors pull it at a speed of six meters per second, making the entire surface vanish in 25 seconds.
  
  
• During the Birth of the Sky scene, the set features a firmament of thousands of stars. To achieve this effect the vault of the Astrolabe is covered with 3,500 LEDs and the floor of the stage has more than 900 fiber optic points of light.
  
  
• An alphabet of 26 symbols, The Zed Alpha, was created for the production. It appears in the set design and shows the periodic table of the elements as well as words related to components of the show.
  
  
• Five spheres of various diameters, each displaying its own special effects, form a miniature representation of the Astrolabe – a micro world that reflects the macro world.