Shows – Page 8 – VEGAS UNFILTERED

Hanging By A Thread – Sin City’s Huge Entertainment Dilemma

Fuerza Bruta’s shocking failure suggests a troubling future for large-scale productions….

Several years ago I penned a two-parter for Vegas Chatter entitled “Four Walls and a Dream”. In it I explored the difficulties involved in launching a new show in today’s corporation-run Vegas. Gone are the days when casinos supported their own entertainment. It’s up to productions themselves to “pay the rent” via an arrangement known as four-walling. And that quite simply is why most new shows are gone before you’ve ever even heard of them.

That article was inspired by Jeff Civillico, a dynamic young entertainer whose star was already on the rise. His “Comedy In Action” afternoon show at Linq Hotel (then known somewhat absurdly as The Quad) was working hard to make a name for itself. Yet the resort where he rented showroom space had little interest in helping “Comedy In Action” to succeed.

Civillico was on the hook not only for the room and production costs, but also for supplying the advertising materials to display around the property. Yet Jeff had little control over where they’d be displayed….if at all. I’m not sure if he ever worked out his issues with parent company Caesars Entertainment, but Comedy in Action still performs once a week at Paris Hotel Casino.

I learned a lot about the current state of Vegas entertainment while researching that piece. There was plenty of response from performers, producers, directors and public relations people when it ran, too. But after the shocking announcement that Fuerza Bruta would be shuttering only four weeks into a six-month stint, I realized two valuable facts:

There is no magic formula to ensure that a show will be a hit.
The current state of Vegas entertainment is more volatile than ever before.

If you haven’t heard of Fuerza Bruta, then congratulations. I’ll pretend to make a check-mark in the air and we can continue on down the list. But first, allow me to say that less than one week ago in my rave review for Fuerza Bruta for BestOfVegas.com, I called it a “Sin City game changer”. I also inaccurately claimed that it was “poised to redefine entertainment on the Strip”. Oh, my… (click HERE to read the original review).

Just after I’d sent the piece off to the editor, I received an email from Fuerza Bruta’s public relations firm regarding the Vegas run.

FUERZA BRUTA will perform its final show at Excalibur Hotel & Casino on Sunday, April 7, 2019. The acclaimed production, which has been seen by more than six million spectators in more than 34 countries and 58 cities since its launch in 2003, will continue to impress audiences from around the world as it prepares to make the move from Las Vegas to MGM Cotai in Macau in June 2019.

Tickets for the remaining Las Vegas performances of FUERZA BRUTA are now on sale and available at any MGM Resorts International box office, online at Excalibur.com or by calling (702) 597-7600. Refunds for tickets purchased for shows at Excalibur after April 7 will be available at the point of purchase.

It took awhile for the shock of this announcement to subside. I could have been embarrassed that I’d been so far off in my predictions. Instead I was angry that the so-called “City of Entertainment” had chewed up and spit out yet another piece of great entertainment.

All but one of my friends who had seen the show were absolutely dazzled by the balls-to-the-walls audacity of it. During three separate viewings, I’d stood alongside (and chatted afterwards with) cast members from shows like Chippendales, Le Reve, Zumanity and Donny & Marie. They’d come as I had to see if the enthusiastic pre-opening buzz was deserved. And every one of them was delirious, if not downright envious, of the incredible visuals and creative sequences that Fuerza Bruta was able to pull off inside a tent erected on a parking lot.

That positive word-of-mouth alone should have been enough to bolster tickets sales. If performers from some of the top shows in Vegas loved it, then it was a must-see, right? Not so fast. Depending on who you ask, it turns out that paid tickets for the show were averaging 50-80 sales per performance with the rest comped (freebies). But if all of those people love it, then they’ll recommend it to friends and attendance will build, right? Well, that would take time….which the powers that be weren’t about to grant.

Fuerza Bruta was located just outside of Excalibur, which is owned by MGM Resorts. MGM runs nearly half of the major resorts on the Strip. So why weren’t they supplying the capital to help fund operations and allow for attendance of this remarkable show to grow? Four-walling, of course! If Fuerza Bruta failed, all Excalibur would have to do is pull down the advertisements and sweep away any remaining evidence of where the tent had been.

Realizing that readers and friends who’d planned on seeing the show would never get that opportunity to do so made me angry. I took to social media to vent my frustrations. “What the Hell is wrong with Vegas? Nothing worthwhile stands a chance anymore!”

Well, thank goodness for the reach of Facebook and Twitter, because my steam-valve post brought out lots of sensible responses from performers in and around the Strip. Mike Hammer of Mike Hammer Comedy Magic at Four Queens was the first to chime in:

You can blame it on this city all you want but they didn’t understand the fundamentals of running a show in this town. It comes down to poor marketing strategy. First of all the show has a name that is not memorable. I live here and can’t even pronounce the name. No way most people from the Midwest are even going to know what the show is. Also, it’s pretty hard to sell a show when you can’t even describe it. Everyone I know that has seen it, including has never described it in one sentence. They didn’t even leave enough time to build up a buzz.

Bad timing of when they opened too. Slower time of the year with March madness and spring break. Again, this a producers decision. They weren’t even selling 50 tickets so how can you blame it on this city?

Again, people that don’t get the VEGAS market. If they didn’t plan enough money to survive six months of marketing, they just were not ready. I wish the best of luck elsewhere where they know what they’re doing. I love VEGAS and it’s been a home to me for 16 years. I’ve seen shows come and go and most of the time it’s the producers or management fault.

Enoch Augustus Scott, host of long-running hit Zombie Burlesque at Planet Hollywood’s V Theater also took exception to my finger-pointing at Vegas:

There are a million possible reasons besides fat Americans to account for this. Injury. Bad accounting. Or it could be the standing up. People stand and walk around Las Vegas all day along. Sometimes the only chance they get to sit is dinner or a show. Also the Las Vegas show demo skews older. Also people from all over the world come to Vegas. Cirque has been able to grow as big as they are by catering to and attracting an international market base. So you really can’t blame fat Americans on a show not running. Clearly the producers did not understand the landscape or have enough capital to go the 6 months. Happens all the time. Producers come here with a hope and dream and without a business plan or the necessary investment to run a show long enough for it to become a success. It is poor craftsman who blames his tools and even poorer performer who blames his audience. Literally.

While I agree on much of what Enoch says, he also had added “It was always meant to be a limited run. Calm down everybody.” Correct, but that limited run was for six months with the hope of an extension. Four weeks was clearly a failure with deeper implications.

See, that’s the problem with having so many choices in one city. Without brand recognition, a famous headliner or a simple-to-explain concept, your middle-American Vegas visitors just won’t make the time for it. Hence we’re inundated with magic shows, impersonators, topless revues and lots of “Circus Day Solay”.

It’s interesting to note that Fuerza Bruta played in New York City from 2007 through 2016. That’s over 3,000 performances! But we’re talking about an entirely different demographic over there. Visitors to NYC book their tickets to Broadway hits months…and sometimes a year or more…in advance. They’re also a more sophisticated crowd that makes Broadway entertainment part of an elegant evening that includes fine dining while wearing tasteful and carefully-selected outfits.

But in Las Vegas we’ve got 1) no backing from the host hotels, 2) no opportunity to build brand awareness….and 3) a group of visitors not exactly looking for high art to go along with their yard-long daiquiris.

I went poking around other social media outlets to see how people were reacting to the news of Fuerza Bruta’s sudden shuttering. Always-reliable VitalVegas.com had quickly published an article announcing the closure, and it was a comment from reader ExVegasLocal that caught my eye:

I was “this close” to buying tickets to see Fuerza Bruta for an upcoming trip. It looked like a really cool show, but I was on the fence because I wasn’t sure I wanted to be jostled in a crowd from one side of the room to the other for an hour. In the end, I decided not to bite.

No matter what Vegas thinks about itself, it’s not really that forward thinking/avant garde. Neither are its visitors. Hence the constant replication of one thing that works until it’s completely overdone. Another Cirque show/night club with one syllable name/shopping arcade in front of a hotel/pool party/CVS pharmacy anyone? Now that’s more like it.

Vin A., one of The Bronx Wanderers, had a humorous reaction to my post…one that was also deeply insightful:

Well THAT was obnoxiously fast 😢 i didn’t even get to see the freaking thing! Wtf? Need a low low overhead to survive out here. Why all the one man shows live on forever and a few small cast things barely squeak by. It’s tough as hell out here. You play here for the prestige, and you tour for the money that carries you through your losses out here. That’s the future.

Raja Rahman of the musical magic duo Jarrett and Raja added his own thoughts to the situation:

It’s never about the quality of the show. It’s the $$$ behind it. Ugh. The cycle continues. After our experience, I’m convinced this business model is crap. Any business needs time to ramp up.

“Our experience” no doubt refers to the troubles Jarrett and Raja encountered at various showrooms throughout the city. They’ve had to deal with four-wall scenarios and abrupt closures at downtown’s Plaza Hotel, Hooters Casino and Stratosphere. Even though these gentlemen are residents of Las Vegas, they often find it sensible and more lucrative just to take their talents on the road.

Actually, it’s a pretty common thing for Vegas shows to go on tours. And often they never return. A few years ago I shadowed a production as it searched for a suitable venue on the Strip. After months of meetings and hassles, they decided on a major casino with a troubled showroom history. Sadly, their production would just be another casualty in a long list at the historic south-Strip hotel.

An opening date was chosen, tickets were sold, sets were constructed and advertisements went up throughout the casino and outside. But after being frustrated by resistance and lack of support from the hotel’s regime, the producers abruptly decided to throw up their hands, walk out the door and take the show on the road without doing a Vegas residency.

It makes no sense. It’s like they don’t want you here. Why should I put up money and then fight with the people who I’m paying rent to? After all that, if I’m lucky I’ll sell two hundred tickets a night in Las Vegas. We could take this show to other places where entertainment like this isn’t available and sell out two THOUSAND seats a night. And those places roll out the red carpet for us.

And that’s exactly what he did. A show designed for the Vegas Strip had to leave the city in order to survive. And the showroom they walked away from still remains empty two years later.

It doesn’t have to be that way, but greed always puts short-term profit ahead of long-term goals. Let’s use BAZ as an example. That innovative musical was brought to Mandalay Bay from Los Angeles by none other than Cirque du Soleil. The launch occurred during an awkward time frame in which ownership and business models at Cirque were being radically altered. Cirque abandoned BAZ in no time and without their support it closed after only six weeks.

BAZ was the perfect blend of sass, class and contemporary pop culture…

That’s when the Sands Corporation stepped in. Recognizing the many benefits of having a fantastic and unusual show on their property, they forked over the money to retro-fit the Palazzo Theater and supported BAZ’s run for two years. BAZ was never going to be a huge hit, but it was a prestigious project that brought a great deal of class and pride to the Venetian/Palazzo family.

So on one side we’ve got performers stating from personal experience that the four-wall business model doesn’t work. And on the other we’ve got these huge corporations that just don’t care. Working within the confines of the current system, what can be done to help a show succeed?

Well, if there was an answer to that, then at least a few of the dozens of shows that died in 2017 and 2018 might still be around. And that theoretical answer still wouldn’t apply to an existing property like Fuerza Bruta. So should it have been the responsibility of the PR firm to suggest “Hey, your show isn’t going to work here without a bit of overhaul”? Unlikely….they’re a third-party agency being hired by the show to spread awareness and buzz….nothing more. And who tells their boss on the first day that people might not even want their product?

Besides, public relations firms work mostly within the industry, reaching out to people like yours truly and much larger outlets such as TV networks, magazines and newspapers. They can tailor an existing ad campaign to make it Vegas-centric, but a risky top-to-bottom re-do for one stop of a tour? Not gonna happen…and we’ve already decided that there’s no magic formula for success, so why even try to change what’s worked everywhere else on the planet?

Should the PR firm have at least suggested a name revision for the show? Again, that would have understandably been met with resistance from a product that’s already a worldwide brand. And yet, a temporary re-naming to “Fuerza Bruta – Brute Force” might have eliminated some confusion and put a few more arses in those non-existent seats. Even the wise folks at Wynn eventually decided after several years to officially change the name of Le Reve to “Le Reve – The Dream”. Because, you know, French is hard!

So just how much is in a name? Maybe the folks at the Strat should be asking that question right about now. No doubt they are sweating, because their delayed-delayed-delayed tent show Celestia, which was supposed to open on January 30th, is suddenly looking at an even more troubled future.

Celestia, now set for a May 1st debut (even though tickets are still not up for sale), may have an edge over Fuerza Bruta simply because it’s a show created specifically for Vegas. But we can justifiably counteract that advantage with the simple fact that it’s way at the troubled north end of the Strip and not the heavily-traveled Excalibur/MGM Grand/Tropicana/New York NY intersection where F.B. failed.

Celestia can also boast having some Cirque du Soleil DNA in its genes….and a few years ago that might have mattered. But now it’s time to recognize something really scary: Cirque du Soleil is facing genuine trouble here in Las Vegas. I’ve been told by people behind the scenes that MGM Resorts is quietly preparing to shut down all of their Cirque shows by the end of 2020.

It’s my blog, I’ll be dramatic if I want to be…

While that might sound like absurd conjecture, there is plenty of evidence to back this rumor up. For one, huge productions like KA, ZUMANITY and Beatles LOVE are now advertising on Groupon. Yes, Groupon…the place where you go to buy discount Botox treatments and personalized make-up bags.

In my Vegas Chatter days, Groupon was a clear indicator that a Vegas attraction was struggling badly and would soon be gone. If you don’t believe me try to visit Eli Roth’s GORETORIUM. That’s not always the case anymore, but with must-see shows like LOVE, it’s an embarrassing way to put butts in seats.

Hundreds of empty seats during a Friday performance of Cirque’s “Beatles LOVE”

I recently attended a Friday-night performance of LOVE and was shocked that the massive auditorium was perhaps 40 percent filled. Hundreds upon hundreds of empty seats. And that’s apparently been the case for most of the Cirque shows for awhile now.

Vital Vegas stated in May of last year that Cirque’s 2017 capacity had been running at around 50 percent. With the removal of free parking to Nevada residents and a continued drop in tourism, that number would look even bleaker in the first quarter of 2019.

MGM Resorts numbers bear out rumors Cirque shows running at 50-60% capacity in Vegas: 3.6 million Cirque tickets sold in 2017, 9,890/week avg. per show. At 10 shows per week, that’s 989 sold with avg. capacity of 1,700.

Vital Vegas was also one of the first to report that Cirque Vegas was undergoing huge layoffs behind the scenes as part of a massive cost-cutting measure:

As they say in show business, “Holy crap!” Cirque du Soleil has reportedly informed all their Las Vegas shows (excluding “Mystere”) all department heads (lighting, sound, wardrobe, etc.) will be let go Apr. 17.

7:19 PM – 23 Mar 2019

He followed that up with an even more troubling tweet:

Hearing at least one well-known Cirque variety act was spotted auditioning at another (non-Cirque) show in town, presumably due to safety concerns related to Cirque layoffs.

12:48 PM – 31 Mar 2019

So, department heads have been axed, individual shows are being consolidated under one umbrella and performers are supposedly jumping ship to save their own skins. Does that sound like Cirque du Soleil will be around much longer to you?

In November I visited the Vegas Cirque du Soleil headquarters for a profile on Kim Scott, their Senior Manager of Sourcing and Partnerships. In her twelve years with the company, Scott had spearheaded shows like KA, Beatles LOVE and Criss Angel Believe.

During the interview, Kim had proudly spoken about being “responsible for maintaining our position in the industry as a leader in live entertainment safety standards, and position(ing) Cirque du Soleil as an employer of choice.” Yet one week after the article was published, Ms. Scott notified me that she was leaving Cirque to start her own consulting firm. I was astonished…and a little concerned.

Scott had also mentioned at the time that Cirque was busy creating a new show for Luxor in the theater vacated by Criss Angel’s Mindfreak. Raise your hand if you’ve heard anything about that one….I certainly haven’t.

Wanna go gaga over Gaga? It’ll set you back about a grand….

If a major brand like Cirque is struggling, new shows can’t afford to open and dozens of existing productions have disappeared, what will the future of Las Vegas entertainment look like? I have three answers: pricey headliner residencies, sports teams and celebrity DJ’s.

This….person…was just hired by Palms Resort to the tune of $60 million…

I don’t think anyone’s unaware of the Golden Knights or the new Raiders stadium. And who isn’t buzzing about Lady Gaga‘s two new shows at Park MGM Theater? Katy Perry, Janet Jackson, Christina Aguilera, Aerosmith and more are settling in for extended gigs. Throw in Marshmello/Calvin Harris and their ilk for the club kids and that’ll probably cover nearly every major kind of entertainment in the city.

1.8 billion dollars is the projected cost of the new Raiders stadium…

Oh, those little one-man shows will probably survive. And the strippers most likely will never run out of poles to swing from. But for productions shows, you’ll just have to head Downtown to the Smith Center. That venue for the performing arts will continue to host nationwide touring productions for short-term runs. Las Vegas will just be another stop on the schedule…no longer unique.

“Closed. Refunds will be available at the point of purchase.”

Clips and photos by Sam Novak. Except for a few from…wherever….

Fuerza Bruta Is a Sin City Game Changer

Spectacular production poised to redefine entertainment on the Strip….

Every decade or so, a show comes along that changes the face of Las Vegas entertainment. First Mystere brought Montreal’s Cirque du Soleil to the desert. Then Celine Dion’s record-breaking Coliseum residency paved the way for other top-tier headliners. The last truly innovative production we’ve seen is Absinthe, the bawdy acrobatic tribute to burlesque. That is until Fuerza Bruta arrived on the scene. And this high-energy production is one phantasmagorical thrill you won’t want to miss.

Like Absinthe, Fuerza Bruta is located in a tent outside of a major casino (in this case, Excalibur). That’s about the only thing these two productions have in common. You’ll know you’re in for something unusual when you step inside the entrance and receive a short briefing by a staffer. He or she will explain that you’ll be required to stand during the entire performance and follow crew instructions to move as set pieces and cast members move through and around the performance space.

Once inside, you’ll notice that the cavernous area is entirely black and dimly-lit, except for a neon sign displaying the show’s title. The anticipation will be palpable as you try to decide where to congregate and which direction to focus your attention. But don’t waste your time wondering, as you and the rest of the audience literally ARE the stage 360-degree, 3-dimensional.

Once the lights go down and the cast appears, you’ll be swept away into the most immersive production the city has going. Wind, rain, sound effects, lasers, flying objects, moving sets, live musicians, singers and special effects on an epic scale combine to envelope you in a way that Las Vegas has never seen.

Well, that last statement isn’t entirely true. A previous incarnation, entitled De La Guarda, ran for about a year at Rio Hotel Casino. Somewhat ahead of its time back in 2001, the current version is exactly what Las Vegas needs. Not only does it avoid the “sameness” of most new roll-outs, Fuerza Bruta raises the bar for every show in the city.

Trying to describe Fuerza Bruta is a bit of a challenge. There’s no story line or discernible theme. What the Argentinian production does offer is an onslaught of imagery, mind-boggling segments and a daring assault on the senses. The music is fantastic, the cast is extremely attractive and the atmosphere evokes a secret rave.

How long has it been since you attended a show and your jaw literally dropped? That’s sure to happen when the audience is surrounded by a massive mylar wall that begins to rotate like a horizontal hamster wheel. Performers jog along this enormous silver road, suspended at a right angle and reaching out to the audience below.

If you’ve been fascinated by the aqua-stages at “O” and “Le Reve”, wait until you see what Fuerza Bruta does. A transparent swimming pool appears from high above, slides over the audience and descends until you can reach out and touch it. Cast members swim, flip and swoosh through water that’s lit from above, creating a swirling collage of colors and patterns.

A favorite sequence involves a white-suited young man on a stroll that suddenly turns into a soaking windstorm. He encounters flying furniture, a spinning room and breakaway walls that sail through the air….all while never losing his rhythm to the techno beat. A truly avante-garde sequence that’ll have you cheering, dancing…and perhaps scratching your head.

Click HERE to continue reading.

The Bronx Wanderers Move To Harrah’s With New Schedule Starting 2/3/20

Since the original publication of this article, the Bronx Wanderers have announced a move to Harrah’s Showroom. New times are Wednesdays through Mondays at 8 p.m. with an additional 4 p.m. matinee on Sundays (dark Tuesdays).

A classic venue for a class act…Bronx Wanderers at Harrah’s Showroom…

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.

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.

‘MONDAYS DARK’ CELEBRATES FIVE INCREDIBLE YEARS

It started out as a small idea…

What if off-duty Sin City performers got together once a month to put on a show…and donate all the proceeds to charity? A simple and brilliant premise indeed, and one that has grown far bigger than anyone could have ever anticipated.

Mondays Dark just celebrated five wildly successful years of giving back by holding their annual wrap-up at The Joint inside Hard Rock Hotel. And just like on the night of its very first appearance, singers, comedians, dancers and magicians used their free time (many shows go dark on the slowest night of the week) to come together and raise money for a wide variety of worthy causes.

According to creator Mark Shunock, Mondays Dark was a very basic premise with the potential to do very big things. Coming from Los Angeles to take a lead role in The Venetian’s Rock of Ages, the native Canadian quickly fell in love with Sin City, and desired to do something positive for the residents of his new home.

Continue reading by clicking here.

Vegas 2018 – Best of the Best, Worst of the Worst in Smaller Shows

Which one ones to rush to…and a few to steer clear of…

Earlier this week I put the spotlight on a few of the more spectacular resident productions on the Strip (read here). But for every grand-scale shows there are a dozen or more economical choices vying for your entertainment dollar. These little guys must survive without massive advertising budgets or big-name stars. The casts have to work that much harder to please their audience, often making for a surprisingly enjoyable experience.

Let’s take a look at a few of these lesser-known and more intimate shows…and sort out the gems from the lumps of coal.

MOST OUTRAGEOUS – Miss Behave Gameshow

Sometimes you just need to do something a little crazy. And that madness is even more intoxicating when there are dozens of like-minded guys and girls taking the same trip down the rabbit hole with you.

Miss Behave Gameshow is offbeat, raunchy, free-wheeling fun from creator Amy Saunders. Accompanied by a curious fellow named Tiffany, Saunders (as Miss Behave) guides you through a game whose primary rule is “There Are No Rules”. It’s part improv, part avante-garde performance and a heaping helping of audience participation.

Miss Behave Gameshow earns every laugh in the best way possible…by being genuinely entertaining. And there’s a heartwarming philosophy at its core that will send you out into the casino with a smile on your face. For something you can’t do at home, put this one on your next Vegas “must-list”. Full review here.

Runner Up – Sex Tips for Straight Women from a Gay Man

MOST IN NEED OF A FACELIFT – Carrot Top at Luxor

Let’s be clear right away…I’m referring to Carrot Top’s act, not his actual face. And while I adore the orange-haired comic both personally and professionally, his act has become quite stale. It’s still hysterical for those who haven’t seen it in the past, but he’s been performing the exact same jokes and gags for over a decade now.

When I first started visiting Vegas in 2006, Carrot Top at Luxor‘s Atrium Theater was a must. As the years wore on, so did the jokes. Even his props look old and dirty now. The Hooters application. Rosie O’Donnell’s buffet tray. A-Rod’s steroid-filled bat…all past their prime. We love ya dude, but give us something new. And once again, I’m not talking about your face.

BEST DOWNTOWN SHOW – Mike Hammer Comedy Magic

Mike Hammer shares his name with a fictional detective character, but you don’t need to be a sleuth to figure out why he’s such a success. The Chicago-born multi-hyphenate is good-looking, suave, a little bit raunchy and a whole lotta funny.

You might be thinking “Great, another cheesy magic act” but Mike Hammer Comedy Magic is a lot more Don Rickles than David Copperfield. Sure, his illusions are sharp and frequently earn gasps from the audience, but it’s his jokes that you’ll remember long after you leave.

There’s a lot going on when you watch Mike Hammer. The guy is clearly at the top of his game, mixing topicality with wit, sarcasm, unforgettable facial expressions and wonderful sleight of hand. It doesn’t hurt that he’s ridiculously handsome, stylish and more fit than guys half his age, too.

Little guy. Big entertainment…

Dollar for dollar, you won’t find a better entertainment value Downtown…or anywhere else in Las Vegas. If you’re heading down to Fremont Street, be sure to start your adventure at the showroom of Four Queens. And be sure to stick around after the performance to chat (or flex) with Mike. Sometimes that’s the best part of the night.

Honorable mention – Spirit of the King (also at Four Queens)

BEST VINTAGE VEGAS VIBE – Cocktail Cabaret at Caesars Palace

For awhile it seemed like this little treasure was gone for good, then it returned a few months ago to Cleopatra’s Barge at Caesars. Nobody seems to know exactly how or why, but what matters is that Cocktail Cabaret is back.

The concept here is simple…a traditional early-evening lounge act overflowing with superb local celebs doing their finest standards and witty repartee. Backed by the wonderful Philip Fortenberry band, this foursome strolls throughout the audience, encouraging you to imbibe as they dance, sing and tell jokes.

Of the three times I’ve attended Cocktail Cabaret, lovelies Maren Wade (The Morning Blend), Niki Scalera and Eric Jordan Young (Vegas! The Show) have been constants. Guest performers include Ron Remke (BAZ), Travis Cloer (Jersey Boys), Daniel Emmet (America’s Got Talent), Shai Yammanee (Jubilee) and James D. Gish.

Whatever the line-up, the talent will be top notch and you’re certain to be entertained. Cocktail Cabaret is the type of show that put Las Vegas entertainment on the map. It’s vintage Vegas at its finest. Don’t miss it.

BIGGEST SNOOZE – Mat Franco: Magic Reinvented Nightly

Vegas has become a bit of a sanctuary for America’s Got Talent contestants. Some hit it big (Terry Fator), others fade away quickly (Paul Zerdin). In the case of Mat Franco, there was a lot at stake.

If the gossip is to be believed, NBC put a chunk of their own bucks into renovating the Linq Hotel showroom for their latest AGT winner. The desire to solidify their brand in Vegas caused a riff between the hotel and Frank Marino’s DIVAS, which was being pushed to the side in favor of Franco. Few know it, but the long-running DIVAS was already in the crosshairs before a financial scandal slammed the door on the drag queen’s closet.

As for Magic Reinvented Nightly, nothing could be further from the truth. Good luck trying to spot something that you haven’t seen before. The production relies heavily on the star’s charisma to make it exciting. Sadly, Mat Franco is about as dull as a dead rabbit. His boyish grin is the only thing the magician has to offer, so you’re left with…..well, not much else.

Tickets to Magic Reinvented Nightly should come with a complimentary dose of No Doz.

FAVORITE TOPLESS REVUE – Chippendales/SEXXY (tie)

In this era of equality, why should beefcake and T&A be separated into their own categories? Not at Vegas Unfiltered, where I’ll crow about the assets of Rio’s Chippendales and Westgate’s SEXXY in equal measure. Both are held in small-ish cabaret venues, feature a nice blend of traditional and cutting-edge sequences…and have a broad range of ages and ethnicities. In other words, there’s something here to curl everyone’s toes.

Despite their naughty nature, Chippendales and SEXXY casts are quite akin to angels. Tirelessly working to raise funds and awareness for charitable causes, the topless performers of Chipps and SEXXY are as admirable as they are breathtaking. Read about Chippendales’ charity work by clicking here.

Runner Up – Zombie Burlesque

MOST PROMISING NEWCOMER – Opium at Cosmopolitan

I hesitated to include OPIUM in the small-production category, as it really could go either way. It may have the backing of Spiegelword entertainment group….and a huge financial push courtesy of a big marketing campaign. But at its heart, OPIUM is very much a quirky little independent production.

Using a re-purposed showroom and sets from their previous flop Vegas Nocturne, the folks at Spiegelworld have fashioned a balls-to-the-wall variety show that wears its cheapness on its sleeves. Not to say that the costumes themselves aren’t fantastic, but any production whose central prop is an old Mattel Simon game…well, I’m sure you catch my drift.

Drenched in the type of naughty nastiness that you might expect to find at an underground avante garde show, Opium will do anything to make you gasp and bellow with laughter. A live band and vocalists, up-close acrobatics, a horny android and the cutest dog act you’ll ever see make Opium a great addition to the Strip. Read my full review here.

SADDEST CAREER PATH – Gordie Brown (Hooters)

Pity poor Gordie Brown, a textbook example of a career in free-fall. The one-time Venetian headliner has been on a downward slide for over a decade. After leaving the Strip, this singer/impersonator settled in nicely at his own Golden Nugget showroom. As tickets sales continued to dwindle, Brown was shown the door. That led to a series of continually-smaller showrooms at Planet Hollywood and now the little-known Night Owl Showroom at Hooters.

It doesn’t help that Gordie’s material is as weathered and shop-worn as his voice. He tries his best, working up a messy sweat while attempting to get the most out of tired George Burns, Nicholson and DeNiro bits…all between gasps of air. You know you’ve hit rock bottom when you have to identify the characters to your audience….but since they all sound the same, does it even matter?

It’s worth noting that Mr. Brown is quite a beloved member of the local community. He’s a fixture at just about every fundraiser you can mention. He’s well-respected by his colleagues and fellow performers.

But as for his career, the once-promising star on the rise is now just bargain-basement filler. Even at $24.99 via Groupon, you’ll still feel cheated. Give Gordie Brown a hard pass.

BEST LOCALS SHOW – Mondays Dark at The Space

Mondays Dark gets its name from the fact that most ongoing shows are “dark” on Monday, the slowest day of the week in Sin City. That frees up performers to do their own thing…and many of them still long to be onstage.

With that in mind, creator Mark Shunock (Rock of Ages and the miserable Magic Mike Live) gathers his show-biz friends a couple of times a month to “put on a show”. Then they donate all the proceeds to charity. Each event is absolutely unique from the others…and so are the casts. Each December, stars and the year’s charity reps gather at The Joint inside Hard Rock Hotel to celebrate their success and announce the next year’s charities.

A humble concept has grown into one of the biggest little secrets in Las Vegas. I’ll be publishing a full article on Mondays Dark in an upcoming piece for BestOfVegas.com. But if you’re interested in learning more right now, follow this link.

Stay tuned for my next entry in 2018’s “Best of/Worst of”. Thanks for being a reader in 2018 and I hope to see you around town.

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

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

“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)

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.

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

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.

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.

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.

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. Deegan matches the masturbating, screeching banshee of Magic Mike Live as the worst emcee in Sin City.

Talk to the hand…

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.

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.

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. Sadly, even their body grooming is poor. Nobody wants to see hairy backs in a male revue, and at least one of them had noticeable body odor. 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.

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

KRAMPUS – A Wickedly-Engrossing Stunner

Majestic Theater’s interactive holiday thriller is the must-do event of the season…

For fans of live theater, the biggest gift of the season has already been unwrapped. It’s KRAMPUS, a one-of-a-kind experience you will never forget. Shrouded in secrecy and bathed in deliciously-shocking humor, this twisted evening of entertainment is brilliant in every detail.

Eschewing their typical stage at 1217 South Main Street, the cast of Majestic Repertory Theater welcomes you to an actual Downtown residence (the location is kept secret until the day of performance) for an evening of fun, food and drink. You’re there as guests and coworkers of Jerry Krumeich (Timothy Cummings), patriarch and host of the traditional family Christmas gathering.

You and fellow attendees arrive just as Jerry is finishing decorations on the exterior. Inside, wife Marge (Anita Bean) is laying out a spread of cookies, eggnog and quiche, waiting for the rest of the family to arrive.

Introductions are made, coats are hung up and everyone is invited to take a seat in the living room. A vintage record player is spinning atmospheric holiday favorites and a real fire is crackling in the fireplace. All that’s missing is….was that a knock on the door?

What follows is the most convincing piece of interactive entertainment this writer has ever witnessed. Not one second rings falsely and the improvisation is sheer perfection. More guests will arrive, awkward family conflicts will surface…and a sinister decades-old secret will be revealed. To tell you any more might dilute the carefully-crafted thrills delivered by an exquisitely believable cast of gifted performers.

If you’re a fan of KRAMPUS, the hit horror film of the same name, rest assured that this story is quite different but just as chilling…literally, in fact. Bring your sweaters, as some sequences take place outside in the dark. And pay close attention to everything you see and hear, even when it’s down the hallway or through closed doors. This house is alive with mysteries…and not everyone will survive when the dark Santa finally arrives.

Local theater productions can be hit-or-miss, but Majestic Repertory Theater carries a reputation for consistently fantastic work. If KRAMPUS is any indication of what they have in store for 2019, then consider me a future fan.

KRAMPUS is created and directed by Troy Heard, co-directed by Natalie Senecal. Performances are Thursday through Sunday at 7 pm and 8:30 pm, now through December 23rd. Tickets are $35 and can be ordered here. This production is intended for adults only. You will be required to sign a waiver in order to participate.

Photos: Sam Novak, Majestic Repertory Theater

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 Starr, Paul McCartney, John 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.

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).

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.

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.

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…

UPDATE 5/18/20: Westgate Las Vegas Resort & Casino announced today that Manilow: The Hits Come Home performances for May, June and July will be rescheduled out of an abundance of concern for our guests, team members and performers. Additional show dates for early 2021 have been added. The legendary singer will perform as scheduled for September, October, November and December scheduled shows.

2020 Show Dates

September 17 – 19

September 24-26

October 8-10

October 15-17

October 22-24

November 12-14

November 19-21

December 3-5

New 2021 Show Dates

February 11 – 13

February 18 – 20

March 4 – 6

March 11 – 13

Tickets can be purchased at Ticketmaster.com, the Westgate Las Vegas Resort & Casino Box Office at (800) 222-5361 or www.westgatelasvegas.com

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.

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.

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.

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”.

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.

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.

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 earworms, much like he did in a legendary 1978 HBO concert.

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.

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