The Bronx Wanderers Premiere New Show at the LINQ Hotel


Inside the family band’s new production…

There’s something about the music and culture of late 1950’s/early 1960’s Bronx New York that strikes a chord in music fans. The 1979 cult film The Wanderers and songs by Franki Valli and the Four Seasons continue to entertain audiences as a new generation discovers that special time and place.

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The Bronx Wanderers are a part of that timeless legacy. This Italian family band has its roots in the Jersey Boys era but with their feet firmly planted in contemporary Las Vegas. A veritable living jukebox of legendary hits, this handsome and talented collection of musicians and singers brings down the house with every performance.

Patriarch Vinny Adinolf worked behind the scenes in the music industry for decades. A successful record producer and label executive, he was instrumental in the careers of Dion and the Belmonts, Jim Croce, Alabama, Reba McEntire and many more. Despite his enormous success spearheading other artists, Adinolfi had always wanted to have his own act.

By the mid-2000’s, Vinny’s two sons had mastered several instruments and exhibited an enormous amount of musical talent. So the time was right to form a family band and take that “Jersey Boys” sound out on the road. That’s how The Bronx Wanderers was born.

Click HERE to continue reading. 

 

 

 

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Inside “The NAKED MAGICIANS” at MGM Grand


Genre-bending illusionists reveal more than magic tricks….

There are some who say that Sin City doesn’t always live up to its name. Perhaps there is no such thing as shock value anymore? Well, don’t be so sure of that. A pair of bawdy Australian illusionists has arrived at MGM Grand and they plan to rip the roof off the resort by tearing away their top hats and tails.

Unless you’re Mariah Carey, most performers would rather focus on their craft than how much skin they put on display But for Mike Tyler and Christopher Wayne, fans of The Naked Magicians wouldn’t have it any other way. These two handsome hunks are constantly goaded by audience members to “take it off”. And eventually, they do!

Click HERE to continue reading.

 

 

 

Vegas 2018 – Best of the Best, Worst of the Worst in Large-scale Production Shows

 


Wrapping up another event-filled year with fond memories and a little sass…

Can it really be that Santa is returning to his home base to put the elves back to work? Perhaps, but that Christmas hangover still lingers, ensuring that you didn’t dream your way through another holiday season in Vegas.

As you bring out the noisemakers and put champagne on ice for New Year’s Eve (check out my piece for tips on last-minute NYE planning), let’s look back at some of the noteworthy…and notorious…moments and madness from Las Vegas 2018. First up: the shows…

BEST NEW SHOW – Manilow: The Hits Come Home

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I’ll admit to being a bit worried when 75-year-old Barry Manilow missed his own big night at Westgate Las Vegas. The legendary singer was hospitalized on the morning of his kick-off weekend, which scuttled a massive media party and prompted singers Clint Holmes and Earl Turner to entertain the sold-out auditorium with their SOUNDTRACK show in his absence.

It turns out that my fears were unnecessary, as Manilow snapped back quickly, proving that he truly is the World’s Greatest Showman. Brimming with energy and love for his audience, Barry is everything you want in a Las Vegas event production. Check out my full review here and be sure to see Manilow: The Hits Come Home through June of 2019.

Runner-up: Soundtrack with Clint Holmes and Earl Turner, also at Westgate (now closed), OPIUM at Cosmopolitan (tie)

WORST NEW SHOW – Inferno: The Fire Spectacular 

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                                        “We need more GAS-O-LEEN!!!!!” 

There are certain entertainment venues in Sin City that seem to have a hex on them. Bad things happen, shows close way faster than they should and nothing seems to go right. Tropicana Showroom, Encore Theater at Wynn and Palazzo Theater have all gone through this period at one time or another (in Tropicana’s case, it’s as bad as ever). Now the curse seems to have landed at Paris Hotel Casino.

This was a bad year for Paris. Its troubled (and aging) Paris Theater chewed up and spit out Circus 1903 and Marilyn: The New Musical in just the first half of this year. Next came the cringe-worthy Inferno: The Fire Spectacular. Built around the supposed talents of peculiar and obscure magician Joe Labero, this upstart element-based production squandered every bit of potential in its premise and left you laughing for all the wrong reasons (“We need more gasoline. Lots and lots of GAS-O-LEEN!”). Read my full review here.

While Inferno could have been salvaged by jettisoning its star and focusing on the fire aspect (and The Fuel Girls), the show was abruptly yanked from the Paris schedule just six months in. Its cast was rudely told to hit the road during a break without the benefit of a farewell performance. Show business can be cruel.

It’s interesting to note that I Love The 90’s, the next production to enter this venue, went on an abrupt hiatus for most of December, just two months into its residency. UD Factory‘s CEO Seth Yudof assures me that there is no reason to be concerned. He swears that I Love The 90’s will return stronger than ever in January. Let’s hope his production is the one to break the Paris showroom curse. Entertainers in Sin City already have it tough enough.

Look for my review of I Love The 90’s when it returns in 2019.

MOST UNWELCOME RETURN – Mariah Carey/Britney Spears/Criss Angel (tie)

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                   A stripper, a robot and a douche bag walk into a bar…

The worst thing about Christmas is taking down the tree, packing up the lights and tossing away all that torn wrapping paper. I get that same sinking feeling every time I spot a billboard hyping the residencies of these three clowns.

Like a dried-up fruit cake that won’t go down the garbage disposer, the miserable triad of Carey, Spears and Angel continue to regurgitate up our collective pipes and spread noxious odors throughout the Vegas valley.

There’s an amazing amount of common ground among the self-proclaimed diva, robotic lip-syncer and goth faux-magician. Arrogance, fakery and distraction are the hallmarks of their supposed talents. Onstage gaffes, cancellations, accidents and savage reviews have plagued each of their productions. Yet minimally-talented blowhards continues to sell tickets and broker new residencies shortly after the last ones have been kicked into the desert.

The PR teams for each were touting their “returns” before the stench had even cleared from their previous rounds. Mariah’s somehow on her second stint at Caesars…three if you count last year’s Christmas gig. MGM Resorts wooed Britney from Planet Hollywood over to Park MGM Theater starting in February (why, exactly?). They’re probably regretting it now that advance ticket sales have been lukewarm at best.

Criss Angel’s partnership with Cirque du Soleil is finally over (they’re probably breathing a collective sigh of relief for surviving ten tumultuous and embarrassing years). He’s left Luxor biggest theater for a mezzanine-level auditorium at PHo, the same troubled theater that swallowed Frankie Moreno and Paul Zerdin just last year. Let’s hope it manages to choke down Mindfreak Live…and digest it once and for all.

Santa didn’t hand out coal this year…he gave away tickets to Mariah, Britney and Criss.

SADDEST CLOSURE – BAZ/David Goldrake’s IMAGINARIUM (tie)

It’s frustrating to see unique and talent-packed shows being overlooked for the likes of the notorious three mentioned above. And while they’re vastly different, both BAZ and IMAGINARIUM suffered similar fates.

Palazzo Hotel Casino deserves a lot of credit for backing BAZ, the daring musical mash-up built around a trio of familiar and tragic love stories. Defying simple descriptions and difficult to promote in any form of media, BAZ relied on word of mouth to put butts in seats. Those who saw it praised the innovative production and its amazing cast. In other words, it was doomed from day one.

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David Goldrake IMAGINARIUM had the unfortunate challenges of 1) coming in behind notorious child-porn illusionist Jan Rouven in the cursed Tropicana Showroom 2) sharing the same corner with high-profile magicians Criss Angel and David Copperfield, and 3) being better than Vegas audiences wanted…or deserved. The hard-working Goldrake made IMAGINARIUM far superior to anything either of his competitors currently offer. And he did it with sincerity, dignity, humility and a great deal of sexiness.

Runner-up: Soundtrack at Westgate Hotel Casino

BEST OVERALL PRODUCTION – Le Reve The Dream

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It’s nice to have my all-time show back on this list. Le Reve – The Dream had to take a backseat to BAZ for a few years. But now that the musical has closed down, nothing shines more brightly than Wynn’s signature spectacular.

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Not only is Le Reve back to the top of my list, but it’s fresher than ever. New costumes and make-up design, a fabulous re-imagined score and songs by original composer Benoit Jutras…and a revised story line all come together for an unforgettable experience. When it comes to sheer spectacle, nothing on the Strip beats Le Reve – The Dream. Read my full review here.

Be sure to check back for my next entry in 2018’s wrap-up. And best wishes for the New Year.

Thunder From Down Under: Time To Toss Out This Outback Throwback


Long-running male revue needs to desperately up its game plan…

Maybe it’s just an off-season phenomenon. Perhaps it’s the temporary venue being utilized during their theater renovation. But more likely, being covered in dust has more to do with neglect than construction debris.

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Whatever the reason, Excalibur’s THUNDER FROM DOWN UNDER is a relic in need of a serious upgrade. Out of touch with the times and suffering from a complete lack of production values, this by-the-numbers slog is about as erotic as a post-Halloween jack-o-lantern that’s left sitting on the porch to rot.

Much of the blame rests squarely on the muscular shoulders of Marcus Deegan, the host of this sad little time capsule. Abrasive and short-tempered, Deegan seems to take delight in belittling rowdy audience members. That’s totally unacceptable, especially in the type of show where getting wild is typically not only welcomed but encouraged.

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           Host Marcus Deegan will put you in your place. No fun allowed…

The past two times that I’ve seen THUNDER, Deegan’s stopped the show dead in its tracks to berate rowdy women. He’s gone so far as to blatantly tell them to “Shut the f*ck up”. On one occasion, he even came out during final bows to flip his middle finger at an audience member while mouthing “F*ck you!”…and it wasn’t done with a wink.

Such obnoxious treatment of guests might be tolerable if the show itself was a must-see. Unfortunately, this isn’t 1974 and Excalibur isn’t in remote Tonopah Nevada. Contemporary visitors to Sin City have every reason to expect flashy high-tech glitz but that just ain’t happening inside this sad little showroom at The Castle.

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Despite being currently housed in an abandoned casino-side location once home to the bankrupt Lynyrd Skynryd BBQ (which itself has been collecting cobwebs behind a wall for six years) the show is virtually unchanged from its usual upstairs location. With a plain black-canvas backdrop, awkward tables that resemble balance beams and rows of uncomfortable bar stools, it’s clear that no expense has been…er, spent to elevate your experience.

As for the show itself, it’s everything that the equally awful Magic Mike Live ridicules male revues for being. Packed with rote production numbers, Thunder will have you mentally scratching off each item from the list of cliches as it plays out on a cheap plywood stage. Erotic vampires? Yep. Law enforcement and military officers? Of course. George of the Jungle and a gorilla? Unfortunately, that’s here too.

Then there is the requisite songbook that every male revue includes: “Uptown Funk”, “Save A Horse – Ride A Cowboy” and a Michael Jackson number all get spun by the DJ, along with that brain-piercing Beyonce earworm “Run The World – Girls”.  The costumes are cheap, there are no sets to speak of and props are at a bare minimum. Choreography is decent but certainly not innovative.

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As for the performers, they’re an unremarkable lot that actually seem quite bored. Going through very basic movements with a minimum of energy or attention to synchronization, the cast projects a complete absence of sincerity…and a clear lack of engagement. These guys seem more interested in their gym memberships than creating a memorable experience for the audience.

One notable exception is Chad Homan, formerly of the far superior Aussie Heat at Planet Hollywood. The youngest member of Thunder, Chad’s also the best dancer by far. Smiling from ear to ear, he spins and sails through the air in ways the other guys could only hope to pull off. He also brings inclusive energy and audience interaction from his previous gig, even hugging male audience members (apparently a no-no here).

Speaking of that matter, THUNDER flounders next-to-last on my published ranking of male revues for their treatment of men. Guys are barely acknowledged here and host Deegan even says something to the effect of “This night is for ladies only…you won’t see your guys here”. Take away from that what you will. But in this era of inclusion, saying “Ladies ladies ladies” is another example of just how dated the Outback boys really are.

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                    Free tickets abound yet the showroom is nearly empty…

Perhaps it’s rather telling that, despite the proliferation of free tickets on MyVegas (the online game that awards real prizes) and various fill-a-seat services, Thunder From Down Under was roughly 75 percent empty last night. You’d think that with the current tidal wave of cowgirls here for the Wrangler National Finals Rodeo, the venue would have been overflowing. Instead, it resembled a dried-up lake during a severe Aussie drought.

Let’s hope that when a newly-renovated theater debuts at Excalibur, the shopworn Thunder From Down Under also unleashes a fresh new version. Until then, it’ll continue to be a great big middle finger to the audience. So save your discretionary income for genuine grade-A beef like the Chippendales. Or maybe just a bargain cut of steak at your local Outback restaurant.

If you’re going: Thunder From Down Under performs nightly at 9 pm with an additional 11 pm show on Fridays and Saturdays. Tickets start at $50.95 (plus taxes/fees) and can be purchased here

Photos/video: Sam Novak, Marcus Deegan/Thunder From Down Under via Facebook 

 

Wynn’s LE REVE Makes New Waves With Major Revision


Detailing major updates to Wynn’s long-running signature production…

NOTE: This article previously appeared on another site in February 2017. There have been additional revisions to the show since then. I will be revisiting Le Reve very soon and will share those updates with you at a later time.

The aquatic show Le Reve – A Small Collection of Imperfect Dreams opened at Wynn Resort in May of 2005. It was an eerie tale told through acrobatics and a blend of water and aerial ballet. Sets were adorned with skulls and skeletons, while the ceiling was layered with actual casts of human bodies. The dream of an “everyman” protagonist caught both audiences and critics off-guard. It was surprisingly dark for a night out in Vegas and became a bit of a PR nightmare for the newly-opened resort.

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Despite the fact that this writer was blown away (I saw it on my first Vegas trip), the production was quickly retooled. A lengthy process of reinvention took place over the next several years, much in keeping with the “fluid” nature of its setting. Le Reve was lightened and brightened, transformed from a sinister nightmare into a sweeping adventure filled with romance, dance….and lots of flowers.

The reinvention worked. Le Reve – The Dream (its second official name) became a must-see…and winner of Best Production Show for six consecutive years (Southern Nevada Hotel Concierge Association). Throughout its run, additional artistic and technological elements have been added to keep audiences returning. My personal tally is twenty-seven as of this writing (you can read all about my previous experiences by visiting an archived VegasChatter article here).

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Perhaps it was a reflection of the times that a happy version of Le Reve soared while the economy was tanking. Failed projects continue to surround the Wynn/Encore property, reminders of a time when the future of Las Vegas growth suddenly seemed bleak. But for fans of Le Reve, all was sunny and bright.

Now that tourists are pouring back into Vegas in record numbers and money is flowing once more, the folks at Wynn Entertainment have once again retooled their namesake show (Wynn resort was originally to be called “Le Reve”). And surprise…the production has gone back to the beginning and restored a bit of the darkness.

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Why would an established show embrace an approach that didn’t work so well the first time around? Perhaps we can credit this to the current crop of Vegas enthusiasts. Younger crowds that make Sin City their go-to destination these days don’t generally attend this type of production. But they do indulge in imagination-based entertainment like gaming, martial artistry, sci-fi, and superheroes.

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Le Reve version 2017 has tapped into the burgeoning fantasy culture and brought heroes and villains to the center of Le Reve’s aqua-stage. A romantic triangle that forms the core of its storyline has been amped up, with characters and costumes having a new sense of familiarity to genre fans. Elements of AVATAR and Ridley Scott’s LEGEND, sword/sorcery visuals and graphic novel sensibilities have been woven into the plotline, along with a dashing prince-like hero (in a billowy romance-cover shirt) and a bald, muscular challenger in black leather pants.

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As you might expect, Le Reve is much less of a musical now. The live singing doesn’t kick in until the second third of the show. Most of the ballroom dancing has been jettisoned, along with three angels who served as comic relief. In their place are two impish sidekicks who serve a staff-wielding Dream Master. That ominous character sends the dreamer into her adventure and leads her from one experience to the next before returning her to our world.

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Certain acts remain relatively unchanged, like a wild sequence with giant fishing nets and another with three female acrobats inside of a sphere. Natural elements like rain, snow, and fire have been amped up. A new effect features globes made entirely of water that descend from an enormous domed ceiling….while flames swirl around inside of them. It’s hard to describe, but absolutely breathtaking.

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As you might expect, not all is perfect in the new Le Reve. The happy-ending finale is set to a horribly cheesy song that would be more at home in Disney’s Parade of Lights. The Piece Montee set, a multi-tiered fountain from which high-divers leap and spin, is now adorned with Day-Glo accents that resemble a child’s aquarium. In fact, the entire sequence feels like a deleted scene from The Little Mermaid or Finding Nemo.

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A source connected with the show told me (on condition of anonymity) that the current finale is a remnant from a different failed revision that Steve Wynn halted (Wynn has had a hands-on role since purchasing the rights from creator Franco Dragone in 2006 and provides a voice-over in the latest rollout).

Apparently, this jettisoned re-imagining was only performed twice for audiences before being packed up and tossed into the dead pool. For whatever reason, the “get-happy” conclusion from the discarded reworking remains. It could easily be excised until another one is created and the show would still feel complete.

The source went on to say that original composer Benoit Jutras has been working on a new score to balance the overall tone and that a lyricist will be adding songs back into the production soon. So Le Reve will continue to be fluid, at least in the weeks and months ahead.

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As I stated in my review of the Beatles LOVE update, retooling a successful show can be a risky proposition. But like the artists of Cirque du Soleil, Wynn’s entertainment group has stayed true to the source material while making it feel brand new.

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Comparisons to Cirque du Soleil will most likely follow The Dream throughout its run, which in unfortunate. Le Reve – The Dream sets itself apart in ways too numerous to mention. Unlike Bellagio’s O, the show at Wynn manages to be both intimate and epic. It’s my personal favorite in the city.

Le Reve – The Dream is a spectacle on a massive scale. It’s incredible entertainment…and one hundred percent pure “Las Vegas.”

Le Reve – The Dream performs Friday through Tuesday at 7 pm and 9:30 pm. Tickets start at $115.00 plus taxes/fees and are available by clicking here. Our friend at VegasFool.com is running a special with Grandview seating for $99 plus taxes/fees (regular $145) by following this link.

Photos: Sam Novak

 

 

LOVE 2.0 Merges Tech, Heart…and Lots More Beatles


“The Beatles: LOVE” remains one of the most spectacular and satisfying shows in town…

When Cirque du Soleil unveiled “The Beatles: LOVE” twelve years ago at Mirage, it was a first in many ways. The custom-designed 360-degree theater had an immersive sound system with speakers built into the seats. Intricate stage platforms quickly transformed the set from one sequence into another. Hi-tech projections created the illusion of a unique concert experience that couldn’t be seen anywhere else.

And the biggie of them all…the Montreal-based acrobatic company had built their first-ever show around an existing musical property – the Fab Four. Dozens of works by the Beatles were intricately woven into a musical tapestry that defies explanation. It was lovingly created for LOVE by Sir George Martin (aka “the fifth Beatle”) and his son Giles with the blessings of Ringo StarrPaul McCartneyJohn Lennon‘s wife Yoko Ono and Olivia Harrison, widow of George.

A lot has changed in the ensuing years, especially in the relationship between Cirque and Las Vegas. Further collaborations resulted in productions featuring Michael Jackson (hit), Elvis Presley (fail) and Criss Angel (where do we start?). With the closure of Zarkana two years ago (the second of their shows to fail in the Aria theater), it’s fair to question whether CDS has over-extended their brand on the Strip. Still… LOVE started out…and remains…a critically-acclaimed crowd-pleasing hit.

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        May 5th, 2016 – Massive crowds lined up to see “Beatles: LOVE” at Mirage

For the tenth anniversary of LOVE, Cirque took on the challenge of revising, updating and fine-tuning what many already consider to be the best show in the city. A risky proposition, but with Giles and original artistic director Dominic Champagne at the helm, the updating was nearly flawless…and quite beautiful.

Those unfamiliar with the show…or who haven’t seen it multiple times (this writer clocks in at 14 and counting) will be oblivious to the more subtle tweaks. But the new sound system, updated video elements, and three-dimensional projections stand out as clearly state-of-the-art.

LOVE’s pacing is also much tighter in this new incarnation. What once began from an incredibly slow build to explosive action, then back to a more solemn World War II sequence now drives continuously forward, thanks to the addition of Twist and Shout.

There’s less focus on the Beatles as children (in fact, during the media event that I attended for the tenth anniversary, only three child actors were present, but their downplayed roles hardly made it noticeable). Another absence, seemingly permanent, was the “Eleanor Rigby” character (portrayed by beloved Brazilian actress Silvia Aderne since the beginning).

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It seems as though the re-sequenced songs and staging are now meant to represent an emotional interpretation of the Beatles’ cultural impact, more so than just a chronological depiction of their rise. LOVE has always been quite a bit on the dreamy side, with surreal visuals and characters.

Now the show is even more trippy, with wildly colorful costumes and props that are vivid and vibrant. Whimsical touches, like characters and sea creatures from Yellow Submarine and Octopus’s Garden, permeate every corner of the massive arena.

Two significant numbers have been re-imagined by replacing marionettes with projections. Lady Madonna has jettisoned the dancing yellow galoshes. The once-black floor now comes alive with moving multi-colored spots that turn the surface into a living Twister game board.

While My Guitar Gently Weeps has done away with the giant marionettes made of letters. In their place, a sole female character now dances with an animated sketch of a man that moves, morphs, and flies from one screen to another throughout the auditorium. The scene and staging are hard to describe, but their beauty brought tears to my eyes.

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The biggest sequence – and a fan favorite – is the enormous mushroom-cloud bedsheet that spreads over the audience during Within You Without You/Tomorrow Never Knows. That set piece remains, but it was unclear from my seating position whether anything going on above the canvas had been updated (that statement might only make sense if you’ve seen LOVE in the past).

Check out the YouTube video below for a brief look at this mind-blowing segment.

Speaking of the previous version, it’s worth noting that the four band members were once only shown in silhouette until the final moments. Now their faces are front and center, sometimes using archival footage that syncs with the soundtrack. That effect and a few others might need a little tweaking (the show was briefly interrupted on the night I attended, due to a glitch) in the weeks leading up to the official tenth-anniversary celebration.

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That gala on July 14th 2016, presented the return of Ringo, McCartney, and the widows of John and George for a formal event. It was truly an epic night and one for my personal Hall of Memories.

It’s terrific to know that one of my favorite Vegas shows is just as wonderful as ever. Whether you’re a fan of the Liverpool quartet, Cirque du Soleil or just great productions, The Beatles: LOVE remains one of the most spectacular and satisfying shows in town. Don’t miss it.

The Beatles LOVE performs Tuesday through Saturday at 7 pm and 9:30 pm. Tickets and information on behind-the-scenes tours and VIP  experiences are available through this link. Our friend at VegasFool.com has tickets starting at $75 (plus taxes/fees) by clicking here.

Editor’s Note: This article previously appeared on another site. It has since been updated.

Photos: Sam Novak

Manilow: The World’s Greatest Showman


Barry returns to Westgate’s International Theater in a must-see event…

Thanks to Hugh Jackman’s recent hit film The Greatest Showman, a new generation regards P.T. Barnum as the greatest showman. But look a little closer at history and you’ll find a career marked in controversy and ethical concerns.

No such worries with the revered Barry Manilow. This legendary performer is universally respected, admired and loved….with good reason. No living singer/songwriter has done for entertainment what the Brooklyn native has been able to accomplish. And the fact that he’s still bringing crowds to their feet at 75 years of age is beyond remarkable.

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It goes without saying that after more than four decades, Manilow has begun to show signs of aging (ya think?). The voice is a little less velvety than you may remember. And after some serious health issues, his gait can be a bit wobbly at times.

But make no mistake – the man still owns the stage and can belt them out with aplomb. As Manilow said himself last night: “What is your 75-year-old grandfather doing tonight? I’m STILL a sex god!”. Yes, sir, you are.

As for the production, Manilow: The Hits Come Home is a landmark achievement in Vegas entertainment. Returning to the stage that he ruled for so many years (under the “Hilton” banner), Manilow’s entrance is preceded by a video intro that builds an unbearable amount of suspense. When the screen arises and the icon steps into the spotlight, it’s a true “pinch me” moment.

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The set list begins with 1975’s “It’s A Miracle”, which seems fitting considering the circumstances. The significance of this early hit was not lost on a packed house of diehard and casual fans. “Daybreak” and “Looks Like We Made It” round out the opening medley, setting the tone for 105 minutes of pure hits and touching moments.

There are very few performers of his era that can maintain the energy level that Barry does during a show. Eschewing the usual time-borrowing distractions…like solos from back-up artists and endless video packages (I’m looking at you, Cher), Barry is onstage from curtain-up through final bows.

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It’s clear that the singer’s primary reason for being onstage is because he enjoys doing it so very, very much. He wants you to have a great time, sing along and reminisce with him about an era that looks so great in the rear view mirror.

“I just love these songs”, he says. “Whatever happened to melodies? Today’s music is great….there’s lots of rhythm…but where did the melodies go?”. Then he answers that question by diving right back into his huge bag of goodies, which includes “This One’s For You”, “Even Now” and “I Made It Through The Rain”.

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Between songs, Manilow recounts his childhood…and the endless support he got from his family. This was especially true of his grandfather, who took little Barry into the city to record his voice at a coin-operated sound booth. Amazingly, the audio of that scratchy vinyl disc still exists. He shares it with the audience, along with photos of them together on their adventure.

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Speaking of adventure, Barry briefly turns on the campy charm with a 3D-enhanced flyover of New York City (everyone gets a pair of 3D glasses, glow stick and collectible tumbler), set to the lyrics of “This Is My Town”. That self-penned single is from his newest album. Released in 2017, “Songs of New York” is the 31st studio release, which rose to number 12 on U.S. charts.

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Another heartwarming moment brought tears to this writer’s eyes. It’s when Manilow is seen in a clip of his 1975 performance of “Mandy” on THE MIDNIGHT SPECIAL. After a few phrases, Barry himself appears, already seated at a piano. The two Manilows share a duet, separated by 43 years and a lifetime of experience. Try not to get choked up.

The television has always kind to Barry, especially in the formative years of his career. He began as a songwriter, creating jingles for the likes of State Farm, Band-Aid and McDonald’s. He shares a few of those ear worms, much like he did in a legendary 1978 HBO concert.

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That program, “Manilow: Live at the Greek Theater”, was HBO‘s first-ever music special…and a breakthrough for modern programming. It was also the first cable program to ever beat the big three networks in the ratings, cementing HBO‘s place in American homes (bet you GAME OF THRONES fans didn’t know that you have Barry to thank!).

I remember going to a friend’s house to watch this concert (we couldn’t afford cable back then) and being utterly mesmerized. And that’s how I felt at the Westgate Hotel Casino as this master of entertainment brought all those memories back to vivid life.

The nearly two-hour show flies by at a rapid pace, culminating in the glorious “I Write The Songs”, a masterpiece that united the many generations in attendance. This clip will show you just how moving a song can be. And of course, there’s an encore of “Copacabana (At The Copa)” to send you dancing in the streets.

If there’s one show you absolutely must see while in Vegas, it’s Manilow: The Hits Come Home. 2019 dates were just announced today, so you still have some time to witness the legend. But don’t put it off…even the World’s Greatest Showman will have to hang up his flashy jackets someday.

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Manilow: The Hits Come Home performs Thursday-Saturday at Westgate’s International Theater. Tickets start at $22 (plus taxes/fees) and can be ordered here.  Our friend at VegasFool.com is offering discounts via this link

Photos: Sammasseur