There’s a moment in Cirque du Soleil’s “Michael Jackson the
Immortal World Tour” when the stage empties, the lights go down and
Jackson’s “I’ll Be There” vocal gets the room to itself.

It’s a quiet, emotionally charged scene in a production brimming
with razzle-dazzle, and Cirque’s aerial artists return to the stage
soon enough. But the message is poignant and clear: Jackson may not
be around to perform, but there’s still plenty of showmanship left
in the King of Pop.

The $60-million extravaganza arrives in San Diego on Saturday
for a two-day stop at the Valley View Casino Center (formerly the
San Diego Sports Arena).

“Immortal” is the first live project authorized by Jackson’s
estate since his 2009 death.

Montreal-based Cirque, known for its imaginative nouveau
circuses, already has boosted its pop-music credentials with
productions such as the Beatles’ “Love” and “Viva Elvis.”

But Jackson fits Cirque like a hand in a sequined glove: With
its whimsical spirit, attention to detail and high-flying elegance,
“Immortal” celebrates an artist known for his own endless
childhood, perfectionism and dreamy idealism.

For fans who have spent decades burrowing themselves into
Jackson’s music on headphones and dance floors, the hits-filled
“Immortal” offers a different sort of escapism.

The show is less a biography than a series of loosely linked
scenes intended to “get inside of Michael’s head and experience the
world through his eyes,” said director Jamie King, 39, who was a
dancer on Jackson’s 1992 “Dangerous” show and went on to helm tours
for acts such as Madonna.

King recounted the yearlong creation of “Immortal,” Cirque’s
first concert-style show. The 40-truck tour caravan —- three for
costumes alone —- rivals the scale of mega-tours by Madonna and
Roger Waters.

“Everything he did in performance was already so big. He made it
so magical,” King said. “So with this collaboration, I had the
opportunity to really take it to another place, an even bigger
spectacle.”

The show is a feast of MJ imagery: An animatronic child Jackson
glides across the arena in a hot-air balloon. A costumed performer
plays Bubbles the chimp as a club DJ. Dances and costumes from
iconic videos such as “Thriller” and “Beat It” are rendered live.
The props are massive, the details exacting —- down to the
outfits studded with Jackson’s favorite Swarovski crystals.

There are no Jackson impersonators, though a face-painted,
break-dancing mime is a frequent onstage front-man.

The set draws inspiration from the star’s Neverland Ranch, in
particular, the backyard oak —- the Giving Tree —- where
Jackson retreated to write songs. A tree mockup is the set’s
sprawling centerpiece, a versatile hub for the 52 dancers,
acrobats, contortionists and aerialists.

Several elements designed for Jackson’s ill-fated 2009 concerts
are intact, including illuminated track suits for “Billie Jean” and
videos for songs such as “Smooth Criminal.” (Jackson died of an
accidental drug overdose in the final weeks of rehearsal for his
London concerts. His physician was recently found guilty of the
crime.)

At the heart of it all is Jackson’s voice, featured in
surround-sound with a live ensemble that includes several players
from his old concert bands, including conductor Greg
Phillinganes.

In association with the tour, Epic Records released in November
an “Immortal” companion album, produced by show music designer
Kevin Antunes. Like the show, the album features vocal tracks from
Jackson’s original session tapes, wrapped in new musical
arrangements.

That meant cracking open some of the most valuable master tapes
of the 20th century.

“It was a little tough,” said Epic chief L.A. Reid. “These tapes
are precious, and it’s not something you tamper with lightly. But
the integrity of the songs is still intact. None of us can know
what Michael would or wouldn’t like, but my guess is that he would
love this.”

Behind the scenes at Cirque’s headquarters in Montreal,
Jackson’s imprint was inescapable. Dancers born years after
“Thriller” talked of the honor in representing him. Longtime
colleagues spoke in reverent tones.

If this isn’t a Michael Jackson tour, it’s the closest you’re
going to get. A family-reunion vibe dominated backstage, bustling
with MJ associates such as choreographer Travis Payne, props
designer Michael Curry and costume designer Zaldy Goco.

“Immortal” was born of mutual inspiration in 2010. As Jackson’s
estate brainstormed live-show concepts, the call came from Cirque
head Guy Laliberte, who wanted to create a Jackson spectacular.

Cirque and Jackson were no strangers. The singer had been a fan
since the company’s first L.A. tent show in 1987, and he even
toured the Montreal headquarters in 2003. He took his kids to see
Cirque’s “Mystere” in Las Vegas a year before his death.

Still, the estate had its own conditions —- namely, that the
show emphasize dance and enlist some of Jackson’s creative
associates.

“We had a lot of confidence in Cirque. They’ve created some of
the best shows ever made,” said estate co-executor John Branca.
“But Cirque also has a lot of shows, and we wanted to make sure
this was going to be a Michael Jackson show.”

Fifteen die-hard fans from around the world were invited in for
feedback as the show progressed.

The result: a production that is likely to satisfy the most
discerning devotees while pleasing mainstream fans.

And you can thank a body of work that just might be, well,
immortal.

“Michael lives on. His spirit lives on,” King said. “He’s here
with us. Maybe not physically. But certainly his influence, his
energy, will never die.”