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.

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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:

  1.  There is no magic formula to ensure that a show will be a hit.
  2.  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.

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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.

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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.

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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!”

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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.

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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”.

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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.

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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:

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.

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 to survive. As for the showroom in question? It still remains unused 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.

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      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.

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                             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.

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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.

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          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.

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       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.

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           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.

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

 

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

 

 

 

 

 

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Fuerza Bruta Is a Sin City Game Changer



Spectacular production poised to redefine entertainment on the Strip….

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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Click HERE to continue reading.

 

 

 

 

BEHIND THE CURTAIN: KIM SCOTT OF CIRQUE DU SOLEIL

 


Excerpts from my article for Best Of Vegas…

There’s a memorable scene in 1977’s Annie Hall in which Woody Allen says “Those who can’t do…teach. And those who can’t teach…teach gym.” In the acrobatic world of Cirque du Soleil, that statement couldn’t be further from the truth.

Behind the curtain of every Cirque show is an army of skilled technicians and a highly trained supporting cast. Step further back to discover a collection of individuals who work as a team to make the magic possible.

One such person is Kim Scott, Senior Manager of Sourcing and Partnerships for Cirque du Soleil Resident Division. Working from an impressive headquarters in western Las Vegas, Kim serves many key roles.

“I am responsible for ensuring the continued sourcing of qualified technicians to support our upcoming creations and current productions. I am also 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.”

Read the rest by clicking here

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.

The Beatles: LOVE

        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).

The Beatles: LOVE

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 Beatles: LOVE

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.

The Beatles: LOVE

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

NEON DREAMS – RENO: Where “Old Vegas” Went To Thrive


Yours truly visits Sin City’s sister and re-discovers treasures you thought had long disappeared….

Reno Old Vegas

Last week, three downtown Boyd properties quietly began charging resort fees. Popular Main Street Station, California and Fremont hotels were three of the last four to avoid the reviled mandatory daily charges. Now only Four Queens remains as the sole truly value-laden destination in what was once considered a refuge for those avoiding Strip-style gouging.

To make today’s Vegas seem even more frustrating, our friend Scott Roeben of VitalVegas.com recently exposed a sneaky, expensive trick being played on patrons at nightclubs like Tao, Omnia, Hakkasan and Wynn’s XS. It’s not unlike the bogus CNF charge he warned us about two years ago. And yet, Sin City continues to find new ways to rip you off.

You’d think that all this bull-shittery would have pushed Vegas fans passed the tipping point long ago…yet they continue to flock in. Those of us who are savvy and sick of being gouged may be seeking out more value-laden destinations for our Vegas fix, and rightly so. It never hurts to discover new places…or in my case, to rediscover an old one.

Nearby Laughlin, an easy two-hour drive from the Strip, boasts an old-time atmosphere you may be craving. Smokey casinos, cornball shows, sticky slot machines, cheap buffets and oceans of blue hair vie for your attention.

Reno Old Vegas

Hotels with familiar names like Golden Nugget, Tropicana and Harrah’s still have that out-of-the-seventies feel (brass, glass and tacky carpeting). Alas, Laughlin’s version of the Strip is quite small, with only nine hotels to choose from. In its favor, they all line up along a scenic riverside location.

Reno Old Vegas

Reno, on the other hand, is a full city of adventure. Nicknamed “The Biggest Little City In The World”, it’s very much like the Las Vegas I discovered over a decade ago….right before everything started to go to shit for the sake of “upscale” improvements.

Once downtrodden and decaying, Reno still carries a sad reputation. Some of it is deserved, as certain sections of the city remain sketchy and unattractive. Yet at its heart, “Little Vegas” is alive and thriving. And lots more fun these days than you’d expect.

My most recent visit to Reno was last weekend after a three year hiatus. The experience was positive from arrival to check-out time. There was an intense feeling of deja-vu during the entire stay. It felt as though I’d been transported to my first Vegas visit…and all of that excitement of discovering Sin City came flooding back.

Reno Old Vegas

Even if you’ve never been to Reno, you’re likely to feel right at home immediately. The local airport is small but efficient and well-equipped and it’s an easy drive to the heart of the city. You’ll recognize familiar names like El CortezCircus Circus and Harrah’s. In fact, the current Caesars Entertainment Corporation began life right here in Reno.

Reno Old Vegas

        Cool, overcast days are part of the seasonal weather variety in Reno…

For this stay, my hubby and I decided to try Whitney Peak Hotel, a newly-renovated building that was once known as Fitzgerald’s Casino Hotel. Yes, the same as THAT Fitzgerald’s on Fremont Street (now known as The D – a stupid rebranding that I still can’t make myself say out loud). Despite being less-than-impressed with the Whitney Peak website, we were curious to finally see the inside of this long-shuttered tower, so we took a chance. And what a breath of fresh air it was.

Reno Old Vegas

Reno Old Vegas

Reno Old Vegas

Before getting into details of Whitney Peak, I want to focus on what made Reno such a great alternative. First off, the ambiance was fantastic…very much like “lost Vegas”. The neon is bright and blinding, the tackiness is more atmospheric than literal (things in every major casino appeared to be polished and well-maintained) and employees were uniformly pleasant if not outright endearing.

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Reno10

Reno Old Vegas

Reno Old Vegas

When I first started visiting in 2011, Reno was in a really sad state. Casinos were shuttered, businesses were boarded up and vagrants lined the sidewalks. These days, those elements are disappearing at a rapid pace…and in their place are fun new restaurants, shops and hotels. Street fairs and events are commonplace and an eclectic vibe has moved into the area.

Reno Old Vegas

After storing our luggage at the Whitney Peak reservation desk (we had driven overnight from northern Oregon and arrived around breakfast time), it was off to the casinos to play while waiting to be notified of early check-in availability.

Reno Old Vegas

Hubby quickly ate through a few twenties at the slots (as is his norm), but I quadrupled my cash while enjoying some very tasty Bloody Marys at Eldorado Casino. And yes, just like in Vegas, your cocktails are free as you play.

Reno Old Vegas

Reno Old Vegas

Reno Old Vegas

Reno Old Vegas

Silver Legacy is Downtown Reno’s most popular hotel. Blame the Bloody Marys…

Next we strolled through adjacent Silver Legacy, a spacious and slightly more luxurious offering than its neighbor. Cocktail service was speedy here as well and the Bloody Marys were abundant with celery stalks, green beans, olives and lime. While scoping out dining and entertainment options for the weekend, we realized we were quite hungry. So, it was back the way we came for lunch at the Club Cal-Neva.

Reno Old Vegas

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Reno Old Vegas

The Cal-Neva originally opened in 1962 and is one of the longest-running and most historic casinos in the downtown area. For a while it also operated the adjacent Virginian Hotel. The sixteen-story Virginian had 125 rooms that were shuttered in 2004. In that way and many others, the casino’s history and resemblance to Binion’s Gambling Hall on Fremont Street are remarkable.

Reno Old VegasReno Old Vegas

Along with a large and popular William Hill Sportsbook, the biggest draw at Cal-Neva appears to be the Top Deck diner. If you’re a fan of the former Binion’s Original Coffee Shop in Vegas, (the basement location, not the current casino cafe) you’ll love Top Deck.

Reno Old Vegas

Reno Old Vegas

The interior design is all hunter green and brass…very reminiscent of the Paradise Buffet at Fremont Hotel in Vegas. Open 24 hours on Fridays and Saturdays and from 6am to whenever the rest of the week, Top Deck has portions and prices that are insane.

If you’re a fan of Hash House a Go Go, you can get your Sage Fried Chicken Benedict fix at Harrah’s Reno. That hotel casino also has their own buffet named Carvings. While similar in size and quality to Flavors of Harrah’s Vegas, the prices are way lower (dinner is $20 vs. up to $33.99). There’s also Bavarian World for you Hofbrauhaus aficianados.

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Reno Old Vegas

Reno Old Vegas

                    La Strada Italian Restaurant is an outstanding choice…

If fine dining is your thing, there are plenty of steakhouses and higher-end international options. We chose La Strada inside Eldorado Casino for our anniversary/Saturday-night pre-show meal. Ranked as one of the top ten Italian restaurants in the country with an award-winning wine list, La Strada was definitely a top-notch experience. And our tickets to Cirque Paris in the main showroom entitled us to 50% off our entrees.

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Speaking of the show, Cirque Paris is a new variety production at Eldorado that can give nearly any similar Vegas show a run for its money. A brilliant cast, excellent acts and clever production design was a little Zumanity, a slice of BAZ and a whole lot of Absinthe.

Reno Old Vegas

Reno Old Vegas

Cirque Paris evokes a turn-of-the-century Parisian cabaret. Sexy courtesans and muscular ushers help guests to their seats and mingle with patrons at a full-service circular bar in front of the main stage. If you’re lucky, one of them might slap a gold seal on your shoulder, which upgrades you to front-row seating that magically appears when the bar transforms into part of the stage.

Reno Old Vegas

Reno Old Vegas

It turns out that the ushers and bar staff are actually performers. They bring in a row of lounge chairs to surround the stage before taking their places on the set. The effect is dazzling, as is the show itself.

Reno Old Vegas

Reno Old Vegas

Former members of Cirque du Soleil, along with other world-class acrobats and comedy acts, mix sexy flirtation with astounding athleticism. And at $59.99 for top-tier seats (which include champagne), Cirque Paris is one of the most outstanding entertainment deals you can find.

Reno Old Vegas

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Reno Old Vegas

Today’s Las Vegas seems intent to scrub away or tear down its own history, but Reno casinos embrace it. Walls are festooned with plaques commemorating legendary performances. The Cal-Neva is celebrating 56 years of operation by charging its customers even LESS than normal. And hotels don’t strip away their themes but boast about them.

Reno Old Vegas

Whitney Peak may be a newly-opened hotel but it dares to have a theme of its own. Unlike the office-building blandness of Aria, Whitney Peak offers a unique theme that appeals to sports enthusiasts of the literal kind. Armchair quarterbacks might feel at home in the city’s sportsbooks, but adventurous Spiderman wannabees are encouraged to climb right up the side of Whitney Peak’s exterior wall.

Reno Old Vegas

Reno Old Vegas

The second floor of the new hotel is home to Base Camp Climbing Gym, an indoor rock-climbing facility and workout center. Guests of all ages can challenge their abilities with boulders in varying degrees of difficulty, all in a safe and monitored environment. Group workout classes, climbing instruction, fitness center and steam room/sauna combine into one unique experience.

Reno Old Vegas

Reno Old Vegas

Reno Old Vegas

The rooms at Whitney Peak have been gloriously refitted and decorated with modern yet rugged appeal. We were kindly upgraded to a top-floor suite that included a top-of-the-line Keurig coffee maker, kitchen with microwave oven and fridge, dining counter and expansive seating area. Wi-fi is included in all rooms, it’s pet-friendly, purified water dispensers are located on each floor and the entire resort is smoke-free. And the most innovative thing of all? NO RESORT FEES!

Reno Old Vegas

Whitney Peak doesn’t have a casino…but it does have its own excellent restaurant called Roundabout Grill. Despite the top-notch service, excellent ambiance, live music and delicious cuisine, the prices aren’t a dollar more than you’d expect to pay in your own home town. And I dare say that Whitney Peak is LGBTQ-friendly, as we were treated with the utmost respect.

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Reno Old Vegas

The hotel offers a selection of Club Level rooms on the fifteenth floor. An accompanying lounge provides a small breakfast buffet, private sitting areas, computer access, board games and a happy hour every evening.

Reno Old Vegas

Reno Old Vegas

   Atlantis Casino (above) evokes an underwater city theme with large domes…

Reno Old Vegas

Reno Old Vegas

Reno Old Vegas

   Peppermill is Reno’s most luxurious resort and features a rich Tuscany flavor…

If bigger resorts are your thing, the town is surrounded by modern, larger casino hotels. The Atlantis rivals most anything you can find on the Vegas Strip. Reno does Sin City one better by turning Peppermill Restaurant into an epic casino resort. The signature bright pinks, purples and ultra-high-def visuals of the popular north-Strip diner are amplified to the Nth degree at Peppermill Reno. It’s blinding, dazzling…and delicious.

Reno Old Vegas

For nostalgic moviegoers, the beloved West Wind 6 Drive-in Theater of Las Vegas has its own twin in Reno. Operated by the same company, West Wind El Rancho 4 offers four screens of first-run double-features (yes, two new films back-to-back) for only $7.50 per person ($5.50 on Tuesdays). Compare that to the typical price of a film at Century Theaters Orleans Casino, where a single evening movie costs $11.00 or higher.

Reno Old Vegas

Reno Old Vegas

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If watching films, enjoying great shows or gambling aren’t your thing, Reno has plenty of outdoor activities to relish like skiing, boating, hiking, camping, golfing, mountain biking and more. Gorgeous and glorious Lake Tahoe is a short day trip away and Tahoe has its own collection of hotel casinos like Harvey’s, Hard Rock, Biltmore and of course, another Harrah’s.

With all these positives, it’s no surprise that Reno is starting to get renewed media attention…and population growth. Vegas ABC affiliate KTNV-TV recently reported that the city outranks Las Vegas as a great place to live, citing cultural events, outdoor activities and job opportunities.

As you can see, there’s a whole lot to enjoy in Reno. A vacation there won’t drag your wallet through the mud and you’re sure to have a blast. There’s still nothing to replace the actual Las Vegas. But as the city you love continues to re-invent itself ad nauseam, you can still get your nostalgic “old Vegas” fix in Nevada’s other Sin City.

Reno Old Vegas

You may find yourself returning to Reno again and again.

Photos: Sammasseur, LaughlinNevada.net, WhitneyPeaks.com

 

 

 

 

 

 

 

 

 

 

 

The Many Sides of Savannah Cross


Palazzo’s infectious dancer brings razzle-dazzle to BAZ: A Musical Mash-up

Ever since its humble beginnings inside a small Los Angeles nightspot, BAZ: A Musical Mash-up has boasted a fluid cast. Performers and celebrity guests regularly step into and out of six iconic and several supporting roles. They often swap characters and lines…sometimes within the same performance, making each night a unique experience.

The genre-bending BAZ musical, a creation by LA-based For The Record, recently celebrated its 500th performance inside a custom-designed venue at Palazzo Resort. Although its tradition of rotating casts continues, one performer has been there through four different dance partners. Her name is Savannah Cross…and she’s someone you’ll want to experience on your next trip to the Strip.

Savannah Cross BAZ Dancer Palazzo

Savannah grew up in Sandy, Utah, just south of Great Salt Lake. She spent her earliest years learning to dance at several studios around her home state.

I started dancing at the age of 6.  Watching my older cousin compete is really what drew me into dance.  I remember thinking to myself, this is it, this is what I want to do.  From the time I started training at 6, I just never stopped and got even more immersed into dance.

During my first couple years of dancing, I saw the movie Center Stage and fell in love.  I loved the idea that dance was something I could make a career out of and watching this movie made it all even more real.  I also loved the work, energy and sacrifice that the dancers in the movie put into this crazy art form.

During high school, the ambitious teen traveled around the country with Hollywood Connection, a company dedicated to preparing dancers for their commercial careers. Despite her young age, Savannah performed in a variety of productions that displayed skills in hip-hop, contemporary and ballroom styles.

Savannah Cross BAZ Dancer Palazzo

Savannah Cross BAZ Dancer Palazzo

After graduating from high school, the dynamic young lady enrolled at the University of Utah‘s College of Fine Arts. While there, Savannah was member of their Performing Dance Company, which gave her the opportunity to work with several famed choreographers. As a result of her hard work and the enormous potential she displayed, Savannah received the prestigious Dizzy Feet Foundation Scholarship for her 2014-2015 year.

Savannah Cross BAZ Dancer Palazzo

While less ambitious college students were spending their summers sipping margaritas on Mexican beaches, Ms. Cross was in Leeds, England, receiving intensive training at the Northern School of Contemporary Dance. And somewhere in those college years she managed to become a finalist on Paula Abdul‘s Live To Dance and appeared in a music video for singer Shaun Barrowes.

Savannah Cross BAZ Dancer Palazzo

After earning a Bachelor of Fine Arts degree in Modern Dance, Savannah became an instructor at Utah’s Elite Academy, a unique dance studio that teaches children as young as preschool age.  There she inspired other up-and-coming dancers and shared the knowledge she’d gained from an already extensive background.

Aside from dancing, I have really found a passion in teaching.  I started teaching dance when I was 18 and instantly fell in love. I was so lucky to have such incredible and diverse teachers growing up and because of this I felt very informed when I first started teaching.

Savannah Cross BAZ Dancer Palazzo

It was obvious that the girl from a small town in Utah was destined to accomplish great things. With the unending support of her loving mom…and her father as a faithful companion/escort to countless auditions, Savannah’s determination would soon pay off.

Savannah Cross BAZ Dancer Palazzo

I have the most amazing support system and especially wouldn’t be where I am today without my mom and dad. They sacrificed so much to let me follow my dreams.  Every vacation we ever took as a family was always for dance.  A large part of me sticking with this art that can be so hard and grueling is because of those two.  They never gave up on me and every second of everyday, they believed in me.

I have one sibling, a 12 year old sister named Dylann.  She is now starting to dance and train heavily and it makes my heart so happy.  Watching her flourish makes me want to be the absolute best version of myself each day.

As with so many other promising artists, Savannah Cross decided to try her luck in New York City. Although she had success there, a turn of luck would lead her to the bright lights and neon of the Las Vegas Strip.

Savannah Cross BAZ Dancer Palazzo

The innovative Los Angeles-based cabaret troupe For The Record Live was catching on like wildfire. Their musical interpretations of the film works from directors  Quentin Tarantino and John Hughes were drawing raves…and crowds. Their biggest hit so far was For the Record: BAZ, built around the scenes and music of avante-garde Aussie filmmaker Baz Luhrmann.

The production, interweaving love stories from Luhrmann’s contemporary re-imaginings of The Great Gatsby, Moulin Rouge and Romeo & Juliet was given a short stint at Mandalay Bay’s LIGHT Nightclub. Plagued by problems with the venue and its relationship with Cirque du Soleil, BAZ closed prematurely…but refused to die.

In 2016, Palazzo Resort announced a relaunch of the newly-named BAZ: Star Crossed Love. Cirque was now out of the picture and Venetian/Palazzo pledged full support of the acclaimed musical. This latest version of the long-evolving production would open with a mostly-new cast, a reworking of songs and scenes and a custom theater designed to showcase its cabaret-style roots.

What would eventually become my 2017 Best Production Show in Las Vegas was about to gain a brand-new ballroom star. This time, Savannah would be required to sing, act and play characters in addition to swirling around the stage. Here’s how she became a part of BAZ…in her own words:

I really never imagined I would be a part of a show like BAZ. Before I joined the cast, I was dancing for two contemporary companies in New York and I really thought that was my path. When I initially joined the show, I was somewhat hesitant having to sing and act, but now have come to realize that I have such a passion for the two. I do strongly believe that my background in dance and immense training that I did all over the world and in different styles, informed and directed me as a strong actor.  

Savannah Cross BAZ Dancer Palazzo

My initial start into the show was such a whirlwind! I received a phone call from a fellow dancer/friend who I hadn’t heard from in years. She started the conversation totally casual, and a few minutes into the conversation asked me if I would be interested in BAZ. I fell in love with the structure of the show and the incredible talent she described to me. Within days, I got a phone call that I was chosen for the role of Fran! I felt so incredibility lucky to be cast in the show without For the Record and the management team ever seeing me in person.

Savannah Cross BAZ Dancer Palazzo

Everything happened so quickly, with only 3 days to learn the entire show, I became the first new cast member to come into BAZ. I instantly knew that I was meant to be here doing this amazing show. As of now, Scorsese: American Crime Requiem (based on the mafia films of Martin Scorcese) is the only other For the Record show I have seen, but it absolutely blew me away!!! I saw the show in Los Angeles with some others members of BAZ and I sat there thinking to myself, how lucky am I to be part of such an insanely talented family.

Savannah Cross BAZ Dancer Palazzo

I have now had four different partners in the show and I will say that I have really been lucky with each boy. Two of the four partners are also from Utah and we actually grew up dancing together, which made the transition pretty simple. But I will say that there is an emotional toll when a partner leaves.

You end up building such a connection and relationship with each other in which you fully trust each other. I do think that it often feels like a “break up” to some extent and can take a minute to rebuild an entirely new connection with someone else.

Being able to build a connection between herself and others is definitely one of Savannah’s gifts. Whether it’s with her fellow performers, the people in the audience or her own students, Miss Cross is magnetic, energetic and completely mesmerizing.

Savannah Cross BAZ Dancer Palazzo

This writer was fortunate enough to have once been Savannah’s student…for a day. As a member of the media, I was invited to participate in BAZ Boot Camp last summer, an event that allowed members of the press to live a day as a performer at the Palazzo Theater.

Savannah Cross BAZ Dancer Palazzo

Savannah Cross BAZ Dancer Palazzo

  Savannah (center, rear) keeps a watchful eye on yours truly during rehearsal…

Despite my having two left feet and a pair of wobbly legs, Savannah and her dance partner Marcquet Hill rallied and turned us into dancers in a few short hours. Savannah’s positive reinforcement and patience were especially memorable.

Savannah Cross BAZ Dancer Palazzo

Savannah Cross BAZ Dancer Palazzo

Fortunately, the next round of students Savannah and cast mate Patrick Ortiz shared the BAZ experience with were fledgling local youth performers. During the past two years, the show’s team has partnered with Positively Arts Foundation to provide mentorship, collaboration and inspiration for students intent on pursuing a career in performance.

Savannah Cross BAZ Dancer Palazzo

The cast of BAZ also put on the Positively Arts Holiday Spectacular at the Palazzo Theater last December. Featuring more than sixty Positively Arts students, the show brought performances of seasonal songs like “Silent Night,” “All I Want for Christmas Is You,” “This Christmas,” “Carol of the Bells” and “Let There Be Peace on Earth” to the stage with all proceeds benefiting the Foundation. For Savannah, teaching and performing on the same stage is something she will no doubt always relish:

I think its beyond amazing that I get to share something I love so dearly with others and help them find their own passion within the art.  Watching my students grow is the most inspiring and informative lesson for myself.

Now that BAZ: A Musical Mash-up has surpasseded the 500th-performance mark and is about to celebrate its two-year anniversary on the Strip, it’s clear that something special is going on inside the Palazzo Theater. With people like Savannah Cross to teach, inspire and entertain, here’s hoping that she and the cast of BAZ reach for the stars with five hundred more…and beyond.

Savannah Cross BAZ Dancer Palazzo

BAZ: A Musical Mash-up performs Tuesdays through Sundays at 8 pm. Tickets start at $64 (plus taxes/fees) and can be ordered here. VegasFool is currently offering discounted seats starting at $39(plus taxes/fees). Access that offer by clicking here.

Photos: Whitney Lauren Photography, Richard Brusky, Post Productions Photography, Marc Reynolds, Abe Larmas Photography, Erik Kabik, KTNV Morning Blend, Sands Corp.