[This story from USA Today makes clear that the latest version of a hologram concert is much more elaborate and compelling than a stage with a translucent projected image and soundtrack of a musical artist who has died. See the original story for a 30 second video and a large photo gallery. For more information see the BASE Hologram website and for information and tickets see the WhitneyHouston.com website. –Matthew]
Whitney Houston died 10 years ago, but her legacy and voice live on in Vegas hologram show
By Melissa Ruggieri
February 11, 2022
“Good evening, everyone, and welcome. There’s going to be a lot of love coming off the stage tonight.”
Hearing those innocuous words uttered by a performer wouldn’t usually spark a reaction beyond apathy – yes, great, we know. On with the show.
But when it’s the voice of Whitney Houston emanating from an eerily accurate holographic representation, the response is a head snap to attention.
Friday marks a decade since Houston’s tragic death on the eve of the Grammy Awards at the age of 48.
Her legacy is reflected in fellow songbirds from Jennifer Hudson to Adele, in flashbacks to unforgettable Super Bowl national anthem performances and, coming in December, the biopic “I Wanna Dance with Somebody,” a film approved by the Houston family estate and produced by Houston’s mentor, Clive Davis.
But her timelessness is also being celebrated in show form in the only manner available to see Houston on stage.
“An Evening with Whitney: The Whitney Houston Hologram Concert” is currently playing at Harrah’s Showroom in Las Vegas through May 1 (with more dates to come) and the 75-minute production is both a technological feat and emotional seesaw.
It’s fascinating to watch and hear the Houston hologram engage in vocal runs during “Saving All My Love for You,” change costumes and hairstyles from fringed orange body suit (“I Wanna Dance with Somebody”) to floral cape and sleek bob (“Step By Step”) and shimmer under rain and lightning effects (“Run to You”).
The six live dancers who scamper through the audience and step in unison with Houston’s holograph, as well as the four-piece band flanking her ghostly likeness, inject the show with verve.
But there is also irrefutable wistfulness woven into the production, particularly hearing her voice – and those are her crystalline vocals ricocheting through the theater – as it glides through the spellbinding a cappella opening of “I Will Always Love You.”
The show, created by Base Entertainment, the company responsible for recent hologram outings with Roy Orbison, Buddy Holly and Maria Callas, took about a year to create with the guidance of the Houston estate.
It debuted in the U.K. in February 2020 and played a dozen theaters until the arrival of the coronavirus quashed the remainder of the tour. Last November, “An Evening with Whitney” arrived in Vegas, where it will remain for a lengthy run. Another version of the show will hit 3,000-5,000-capacity theaters around the country – similar to touring Broadway musical tours – starting in early 2023.
Brian Becker, chairman and CEO of Base Entertainment, talked with USA TODAY about the technological feats of the show, as well as criticisms from those who don’t believe a hologram is an appropriate expression of legacy.
How does Houston come back to the stage?
The easiest answer is holography, or “lensless photography,” combined with techniques to project the image onto unique surfaces.
Becker explained that Houston’s holograph was shot in 8K – the highest resolution possible – an advancement from the 4K-filmed Orbison, Holly and Callas creations. Since those, technology has expanded to include “things we were told were not possible,” Becker said, such as projecting behind a theater scrim and video mapping, which were utilized for Houston’s production.
Is that really Houston’s voice singing?
The show uses a combination of original master recordings from the studio as well as live recordings that were mixed to create a live experience.
“It’s all her,” Becker said of the vocals.
Much like a Broadway show or major concert tour, “An Evening with Whitney” includes elements such as a narrative and song order, with the production augmented by a creative live director, choreographer and set designers.
Considering the numerous legal pieces involved, including the rights to publishing, name and likeness, “None of this works unless the estate responsible for protecting her legacy gives approval,” Becker said.
How does the Houston holograph move and dance?
A blend of computer-generated image, or CGI, and an actual human actor’s movements are melded to form the Houston image seen onstage. Becker said the company is partial to using a live person as the basis of a hologram both because it’s more efficient than trying to build an avatar and it’s more realistic.
“It’s also a matter of casting. Not just a matter of looking like (the person), but can they perform as that person?” he said. “We had a very talented dancer use Whitney’s masters and sing along to the music and do the facial expressions and show the emotions. Whitney had one of the greatest voices ever, but you also want that expressiveness on stage, the dramatic interpretation.”
What about critics who believe holograms are an insensitive form of legacy?
Becker said he understands the emotional component to some reactions, but also believes critical thinking should be applied.
“From a critical thinking perspective you have artists, who by definition create things. An artist’s legacy has this incredible (body of work) behind it and most artists embrace technology, whether it’s a new synthesizer or in the electronic dance music space. All of these technological changes have been part of entertainment as well,” he said. “Then I say, look at Johnny Cash or Queen. I don’t hear anyone raising complaints about tribute artists or bands. At least in this case, the music we’re presenting is entirely authentic and the legacy of these artists is approved by those entrusted to take care of that legacy. Tribute bands don’t pay anything to the artists. What we’re doing is generating income to the heirs of the artists.”
Becker said early crowds were comprised of die-hard Houston fans, but the base is now expanding to general entertainment seekers. He also noted that ticket sales increased the weekend of Adele’s discarded residency at Caesars Palace, as music fans sought an alternative.
He’s hopeful that positive word of mouth will continue to fuel the show’s popularity.
“These are produced to be celebrations,” Becker said. “Different ways of looking at art.”
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