Elvis Evolution is the long-anticipated immersive experience from Layered Reality that promised to fuse creativity with cutting-edge technology. But according to some attendees, it falls short of its own hype.
The production is what I would describe as site-specific promenade theatre, whereby audiences walk through a sequence of elaborately staged environments – stylised recreations of American diners, train carriages, and studios – each augmented by spatial audio, projection effects, scent, temperature changes, and other sensory triggers. The intention of the show is to create a fully immersive narrative that wraps around the life of Elvis Presley.
But there’s one key question lingering among spectators: where is the holographic Elvis?
The promise vs the reality
When Elvis Evolution was first announced, it was billed as a technological tribute and it seemed in-keeping with the spirit of Abba Voyage where holograms were used to recreate live concert experiences, as if the singers were there in the room, singing for their adoring audiences. Elvis Evolution looked to be no different. The company stated that they used AI to process thousands of images and home videos of Elvis, which would be used to create a life-sized, dynamic digital avatar of the King of Rock himself. This virtual Elvis was originally described as a responsive entity – something that would embody the essence of the King live on stage, in a way that felt tangible to fans who may have never got to see him perform.
Layered Reality, known for its sensory-rich experiences, teased the concept of blending physical theatre with AI, immersive media. Yet after a series of delays, it seems to have dropped its plans for a holographic Elvis.
In its place is a live-action retelling, featuring actors, musicians, and large-format video screens. There are still “multimedia” elements, including restored Elvis footage and atmospheric set-pieces, but it is far from the holographic Elvis that was once proposed.
The front page of the show’s website declares that the production “combines cutting-edge digital technology, live actors and musicians, mind-blowing multimedia and heart-pounding music”. Elsewhere, the show is still referred to as a “first-of-its-kind experience” which uses “Generative AI to bring the musical icon to life”. But peel back the layers of reality of what that actually means and it seems the marketing around the technology is not as groundbreaking as it once sounded.
What technology is actually involved?
So, what is the show actually doing, technologically speaking?
- AI-powered archival upscaling: rather than generating a virtual avatar, AI is used to enhance and restore old Elvis footage – cleaning the video and audio, and sometimes filling in missing details using predictive algorithms
- Augmented scenes: AR-style projections, lighting effects, and environmental design are used to support the live storytelling. These are used sparingly and often at climactic moments
- Spatial and multisensory effects: moving floors, wind, and temperature cues to help create a physical sense of being part of Elvis’s world
All of this is used in service of the story. As Layered Reality has clarified in recent interviews, the technology is meant to support the emotional arc – not to take centre stage.
Could it have been different?
Layered Reality has pointed out that Abba Voyage benefited from having the band members alive and able to wear motion capture suits. In contrast, Elvis left behind no such resource. That said, in an era of deepfakes, CGI overlays, and real-time rendering, one wonders: could an actor in a suit not have been used as the foundation for a digital Elvis? The technology certainly exists for that kind of overlay, though the creative choice was ultimately to avoid this path.
I’m a big fan of theatre and the arts, and I genuinely enjoy immersive experiences. These types of productions, when done well, can offer extraordinary engagement. But expectations matter. If you frame something as a groundbreaking digital resurrection, then deliver a beautifully staged biopic instead, some disappointment is inevitable.
What we’re left with is an impressive production that may have overpromised on the technology front. Had the show marketed itself more transparently – as a rich, theatrical tribute with enhanced visuals – it might have been better received.
Ultimately, this is a reminder to creators: if the technology is there to serve the story, not to be the story, be honest about it. Because fans aren’t just buying a ticket to theatre – they’re buying into a vision. And when that vision relies on technology that never quite materialises, it risks feeling more like smoke and mirrors than a true evolution.
