The name of the tour was based on Edgar Allan Poe 's poem of the same name . The tour was directed and choreographed by Australian choreographer Wade Robson . He explained the concept of the tour , saying , " The show is gon na be really , really theatrical — it 's really complicated . It 's a massive show with a lot of new music . It 's just gon na be really different . ... You 're gon na learn a lot more about her as a person . The show is gon na be really about how she 's becoming a woman , how she 's finding herself and her independence . She knows what she wants to do , she knows who she wants to be , and that 's what the show 's about . " The stage was designed by production designer Steven Cohen and production manager Rob Brenner for the HBO special . This was the first time Spears used an entire new stage design after having used a typical end-stage with a ramp and stairs at the center as on her first 3 tours ( the '' ... Baby One More Time Tour '' , the '' ( You Drive Me ) Crazy Tour '' , and the '' Oops ! ... I Did It Again Tour '' ) . Cohen designed the main stage with an oval shape so that Spears could perform around the stage and so that it would look good from multiple camera angles . He said that the rest of the stage was created with three main components in mind : a runway , a B-stage , and a flying device over the crowd . The last was developed , as explained by Cohen , " around this Cleopatra 's barge concept I got into my head while designing when the movie '' Cleopatra '' was playing in the background . It needed to be elegant and stylized but also high tech , because it was going to have to be traveling on conventional motors and transport mechanisms . Plus , it had to have a big enough performance area for her and the dancers . " Brenner continued , " I wanted to try to give the kid in the back of the house the same experience as the one in the first 10 rows . " The runway uniting the main stage and the B-stage was suggested by one of Spears 's managers , Johnny Wright . The entire stage was built by Michael Tait from Tait Towers . Cohen said , " We took a more expanded role in preparing the drawings for Michael . We wanted to retain the essence of the look of the show , both in its overall footprint and in the execution of these various pieces . ... He did a great job on executing the fine details like the hand railings and the floor lights and the MR-16 covers . When you 're doing something for TV , all of those pieces are foreground pieces . The mirrors on the platforms and the floor painting made the show look better on TV . " The video screens showed both live shoots and special footage directed by Robson . Cohen worked by Danny O'Brien at BCC Video to create double-sided custom video LED cubes that hanged above stage right . There were three larger-sized video screens above the stage area . The gyrating wheel in which Spears opened the show was made by Branam Enterprises and was attached to a platform also created by Tait Towers . 171 white light yag lasers were provided by Spectra . The giant music box from which Spears emerged in " Born to Make You Happy " ( 1999 ) was designed by Michael Cotton . Confetti was shot from machines provided by Pyrotek . Pyrotechnics were done by Gerb Fountains , whereas artificial snow was provided by Little Blizzard . During the encore performance of " ... Baby One More Time " ( 1998 ) , there was a water screen in which it was poured nearly two tons of water pumped at 360 gallons a minute . Cohen said , " The water screen is the keystone of the entire design because it impacts every system — electrics , staging , dancing . Rob discovered the company ( Chameleon Productions of Orlando , Florida ) that makes the screen , and I immediately looked at what they had in stock , which was a straight line . And I knew we did n't want a straight line . We wanted a circular water screen so we could physically build a shower for her to stand in the middle of and not get wet and then walk through when she wanted to . Of course , everyone thought I was crazy , so I suggested a six-sided shape . Everyone was concerned that the gaps between the sections might cause gaps in the actual sheets of water . But I kept saying that if you put them 40 ' to 50 ' up in the air , gravity will cause the water to attach to itself , so you end up getting a solid sheet . " The lighting was designed by Cohen and his partner in Steve Cohen Productions , Joel Young , who served as the tour 's lighting director . Cohen continued saying , " All of our shows are heavily color-based — everything is rich in color . There is a lot of layering that is not confusing so the purity comes through " . Young programmed the show on a Flying Pig Systems Wholehog II console , which he ran while simultaneously calling the 13 followspots for each show . There were eight truss spots and five house spots : four Lycian 2.5 kW instruments on the back , four Robert Juliats on the front truss , four FOH spots and one in the back . " Steve Cohen Productions also served as the tour 's lighting vendor and sublet the gear they required from Westsun and Fourth Phase/LSD . Syncrolite provided its own 3k lights . Apart from the Syncrolites , the rest of the lighting was a combination of Coemar and High End Systems automated fixtures and conventional luminaries . There were a total of 215 active lights
Oops ! ... I Did It Again Tour
Oops!... I Did It Again Tour
Dream Within a Dream Tour