In the same sense that her brother, Michael's tour is every lightingdesigner's dream, so was this show. John McGraw answered Janet's request for a ______ influenced design, and came up with a most bizarre and original concept, utilizing video cubes that hanged at odd angles overhead. Coupled with that, Janet and her partner/show director, Renee Elizondo, were totally open to creating a large, saturated look that was devoid of any sense of symmetry. This was a true joy to experiment with. All ideas of conventionality were thrown out, and I was allowed to do what I love best --- add lights for specific applications and angles, instead of being held to economics where each automated light should have at least three primary uses.

Programming was intense ---- going on for at least 2 months. Each song was loaded with rhythmic accents and cues. As with the choreography, we were intent on catching every single one of them! The end result was a array of lighting cues that mirrored every move of Janet and the dancers, and every accent in the music. I compliment my programmers by mentioning the detailed accuracy of all of the cues.

Janet's show never slowed ---- even the ballads were loaded with emotion and movement. It was 2 hours of intensity. What fun! As for Janet --- she is the most congenial, polite, and caring performer I have had the pleasure of working with in a long time.

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