Mickey takes his bow at the end of the show .

The fusion of live action with LED video is a hallmark of Harary ’ s shows , a formula he began refining in 2009 . This innovative approach integrates choreographed dance segments and magic with dynamic visuals , creating a seamless narrative experience . Working closely with his choreographer , FLIPZ — who has an illustrious background with icons like Missy Elliot , the Spice Girls , and Lady Gaga — Harary starts with music , his perpetual source of inspiration . “ I spend my life categorizing music into ‘ usable ’ and ‘ non-usable .’ My brain is a library of thousands of songs ,” he explains .

The process is meticulous . After choreographing routines , Harary storyboards hundreds of images to guide Glen in creating LED graphics that harmonize with the dancers ’ movements and the illusions on stage . This synchronization is mentally taxing , demanding both right and left-brain engagement . “ It is more exhausting than doing the show ,” Harary admits . His lack of computer technical skills means relying on his handdrawn sketches , a method that often tests Glen ’ s patience but ultimately leads to breathtaking results .

Costume design , another critical element , is helmed by Sonny Ware , a collaborator from Harary ’ s shows in Pigeon Forge . Harary provides detailed hand-drawn concepts , which Sonny brings to life . Yet , practical application often necessitates adjustments , a challenge Sonny navigates expertly thanks to her deep understanding of Harary ’ s creative process .

Delegation is key to managing such a vast operation . Harary reflects on his evolution as a leader , noting that effective delegation is possible only because of the long-standing relationships and mutual understanding within his team . “ I become a plate spinner , constantly juggling different