Cirque du Soleil Marches Forward with ‘One Night for One Drop’


Clean-water benefit show gets reinvented amidst the pandemic shutdown…

The annual One Night for One Drop has become quite an anticipated event. For just one evening each year, acrobat, artists, and alumni from several Cirque du Soleil productions come together for a spectacular gala. The purpose is to raise money for One Drop Foundation, an organization whose goal is to provide “sustainable access to safe water and sanitation for the most vulnerable communities through innovative partnerships, creativity and the power of art.”

While that mission statement is quite a mouthful, what it boils down to this: a reliable source of clean water for regions desperately in need of such. One Drop Foundation makes that happen by raising funds through performance arts, most notably Cirque du Soleil.

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It seems only fitting that Las Vegas, a haven in the middle of the desert, would focus this amount of intensity on the importance of water resources. So each year the entertainment community of Sin City rallies around One Drop Foundation to draw attention to that vital necessity.

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Since its inception in 2013, One Night for One Drop has raised over $40 million. While prior entries had assembled talent from the various resident Vegas productions under one roof, 2020 was slated to be a bit different. Instead of a uniquely-created event, the organizers decided to showcase R.U.N (Cirque’s abominable new production at Luxor) with a special performance. Alas, a critical drubbing and anemic ticket sales of the now-shuttered stunt show jettisoned those plans.

December 5, 2019 – One Night for One Drop is not a traditional fundraising event. The evening begins with an intimate pre-show cocktail reception followed by a blue carpet filled with celebrities and guests. Prior to the R.U.N performance, a live auction spotlighting once-in-a-lifetime experiences and unique luxury items will be presented in the R.U.N Theater.

R.U.N‘s moment in the spotlight was chased away in favor of a single-night edition of The Illusionists. That existing product was acquired by Cirque through a 2019 purchase of The Works Entertainment. The plan was for The Illusionists to use R.U.N‘s theater at Luxor, a choice that hinted at the permanent closure of their mega-flop a short while later. And now that all theaters are shuttered thanks to the pandemic, The Illusionists had to retreat with their rabbits and top hats as well.

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Undeterred, Cirque and One Drop are soldiering forward with a virtual offering of their annual event. Previously-filmed footage has been edited into a one-hour presentation that will be available for you to view at home. (Click THIS LINK for my article on other Vegas-inspired virtual offerings.)

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Here is the official press release with details on how you can experience the spectacle of Vegas-style Cirque du Soleil from the comfort of your living room:

On May 1 at 12 p.m. PDT / 3 p.m. EDT,  the One Drop Foundation and Cirque du Soleil will premiere a 60-minute special featuring unforgettable moments from previous editions of One Night for One Drop, the annual fundraiser to benefit international water foundation One Drop™ showcasing Cirque du Soleil artists alongside celebrity guest performers.

Taking place annually since 2013 around World Water Day, One Night for One Drop imagined by Cirque du Soleil and presented by MGM Resorts International recently had to be canceled in the wake of the COVID-19 pandemic. The unparalleled livestream episode, available on the CirqueConnect platform, will highlight the impressive collaborative work between One Drop and Cirque du Soleil over the years and will feature surprise guest appearances.

United by the power of art, One Drop and Cirque du Soleil are proud to connect their creativity to provide entertainment when it may be most needed, while making a commitment towards a better world. Moved by a desire to stay connected, the CirqueConnect content hub provides a source of high-quality entertainment for fans to enjoy from the comfort of their homes, as safety measures to combat the Coronavirus (COVID-19) have suspended live entertainment across the globe.

“As we face this unprecedented pandemic, One Drop’s mission of providing access to safe water and sanitation has never been more critical,” said Marie-Anne Tawil, Chief Executive Officer of the One Drop Foundation. “The world may seem to be apart right now, but coming together to safeguard the vulnerable communities on this planet where water is scarce has never been more important. Everyone should have access to water, soap, and adequate conditions for a healthy life, but also to properly prevent and reduce the spread of COVID-19 on a global scale.”

This One Night for One Drop 60-minute special will be the sixth edition of the CirqueConnect weekly series, and will remain available after its premiere at cirquedusoleil.com/cirqueconnect.

 How to watch the special?  

On May 1 at 12 p.m. PDT / 3 p.m. EDT, tune in to the 60-minute One Night for One Drop special at cirquedusoleil.com/cirqueconnect.  

So, despite a number of hiccups and obstacles along the way, One Night for One Drop will make its mark on 2020 after all. With Vegas live entertainment facing a frightening and uncertain future, this is a golden opportunity to witness the marriage of Cirque du Soleil and Sin City in a unique format. So, be sure to tune in and contribute if you can.

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Learn more about One Drop’s safe water access and sanitation projects and how to support here: https://www.onedrop.org/en/events/special/. To bid on an amazing item/experience on their online auction, visit Charitybuzz at http://www.charitybuzz.com/onenightonedrop

Photos: Cirque du Soleil, One Night for One Drop via Facebook

2019 – The Year in Review: Entertainment Highs and Lows


Taking a look back at the best, worst and notable in production shows of 2019….

As in recent years, the Las Vegas entertainment arena of 2019 was volatile, to say the least. Some headliners soared while others became a blip. Expensive new productions were met with skepticism or downright disdain. And still, those rotten brown logs known as Terry Fator, Mariah Carey, and Criss Angel continued to float in toilets of their own making.

Let’s take a closer look at some of the more notable examples of Sin City’s troubling trends in 2019 – The Year in Review: Entertainment Highs and Lows.

BEST NEW SHOW – Atomic Saloon Show at Venetian/Palazzo

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Spiegelworld hits and scores once more with Atomic Saloon Show. A bawdy in-your-face Wild West romp with hookers, cowboys, a horny minister, and his pair of twisted nuns, Atomic Saloon Show tosses the high points of Absinthe and Opium into a blender and pours out a perfect cocktail. Cast members Colin Cahill and Davide Zongoli receive bonus points for pushing the “hotness scale” to ten but the entire cast is uniformly excellent.

Runners Up: Blanc de Blanc, Blond Invasion, Fuerza Bruta, Hans Klok 

WORST NEW SHOW – R.U.N at Luxor

R.U.N For The Exit – Cirque du Soleil’s Latest is an EPIC DISASTER

Cirque du Soleil has definitely had their heyday on the Strip but they’ve swiftly fallen down the scale in terms of must-do entertainment. The famed acrobatic troupe somehow survived a nauseating ten years of BeLIEve/Mindfreak Live, Criss Angel’s abominable slop fest at Luxor. Then they replaced it with something far worse (how that’s even possible is a question for the ages).

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Nothing can prepare you for the awfulness of R.U.N (read my full review here). No matter how much you may be warned in advance, you’ll still leave feeling nauseated, perplexed, violated, repulsed and suffering from a throbbing headache.

When the company behind such beloved productions as Mystere and The Beatles LOVE pukes out a furball of this magnitude, there really is no way to recover. R.U.N will go down in the history books as one of the worst shows that Las Vegas has ever seen. And this is the city where Nudes On Ice was born.

Runner Up – Criss Angel Mindfreak Live at Planet Hollywood Same shit, same arrogant asshole, different theater. Enough said.

BIGGEST SURPRISE – Blond Invasion at V Theater

In a city filled with tribute shows, Blond Invasion (here’s my review) had no right to be this much fun. Spot-on impersonations of Britney Spears, Madonna, and Lady Gaga would already be entertaining, but mix in a quartet of hot male dancers, terrific choreography, spectacular costumes and live singing and you’ve got a perfect night out.  Things got even better when the trio came together for a once-in-a-lifetime medley that will sadly never happen in real life.

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             Swoon-worthy Adam D. Tucker as Tim McGraw in Vegas Gone Country

Unfortunately, Blond Invasion was one of two gems at V Theater that was never discovered by the audiences they deserved. Companion show Vegas Gone Country followed a similar formula and also suffered from anemic ticket sales. When the stars themselves have regular gigs a few blocks away, it seems that folks would rather pay more for the genuine article, no matter how lazy or rude they’ve become (I’m talking to you, Madonna). Which leads us to…

MAJOR HEADLINERS THAT SNORED AND SOARED – 

2019 was the year that fans went gaga over Lady Gaga. With two simultaneous productions playing at Park MGM Theater, the Star Is Born actress wowed sold-out audiences with classy Piano Jazz on some nights and Enigma‘s full-scale psychedelic pop on others.

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Britney Spears imploded on a personal level…yet again…and her February residency at Park MGM was quickly canceled and forgotten. The official explanation was a concern for her father’s health, then later the pop tart claimed that daddy dearest had forced her into rehab. Whatever they claim, poor ticket sales were being reported right up to the cancellation. You can only move your lips and flap your arms so many times before audiences cry out “Enough already!”.

Janet Jackson quickly moved into the Brit-bot’s vacated slot but barely managed to make a squeak. It seems like most of her fans remained behind the velvet rope, waiting for something better. Maybe it was her silence regarding LEAVING NEVERLAND, the HBO documentary detailing brother Michael’s fascination with little boys, that kept them away.

Perhaps it was the tabloid-worthy marriage/pregnancy/birth/divorce to a Qatari billionaire. Or her conversion to the Islam faith accompanied by uncomfortable photos in traditional Muslim garb…or the fact that the weight-troubled former hitmaker had canceled a 2016 tour then kept the money from advance ticket sales (fans sued and won) that pushed them over the edge. Whatever the reason, don’t expect a return from the money-grubbing Rhythm Nation songstress anytime soon. Sorry, Miss Jackson, but you’re nasty.

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Madonna turned out to be no lady for a trio of shows at Caesars Palace last month. Originally scheduled for 8;30 pm, the self-proclaimed diva pushed the start time to 10:30 pm after tickets were already sold, then had the nerve to show up three hours beyond THAT, going on stage way after midnight. Fans rebelled, hundreds of refunds were issued and of course, a lawsuit was filed by ticket buyers.

Arriving to a chorus of boos, Madonna remained unapologetic, saying “”There’s something that you all need to understand, and that is that a queen is never late.” Well, let’s hope this queen bitch tumbles from her throne and lands on her face. Maybe then she’ll finally get those teeth fixed and put that absurd eye patch to good use.

Shania Twain arrived late in the game for a series of shows at Zappos Theater, Planet Hollywood. Fans and non-fans alike gave the new production an enthusiastic thumbs-up with special mention to the energetic performance of its star…and some seriously steamy back-up dancers. Christina Aguilera and Gwen Stefani’s residencies in the same venue garnered a similar response.

Paula Abdul signed on for Flamingo‘s Donnie and Marie Theater and reviews have been decidedly mixed, leaning towards the negative. While I’ve yet to see the show (I was never a fan in the slightest, so she isn’t high on my list), those who have gone to it report that she lip-syncs the entire performance while being tossed around like a sack of potatoes.

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Since the one-time American Idol judge (oh, the irony of that) was always a horrible singer, perhaps her onstage fakery is a blessing in disguise. But who thought that Abdul was worthy of a residency, especially since her 2018 comeback tour crashed and burned? Apparently the thrifty folks at TravelZoo, where you can snag discounted tickets for as low as $49. Forever your girl, indeed.

Next year will see a residency by Kelly Clarkson that already promises to be a big hit. The initial response has been through the roof. If this seems like something you’d be interested in, snatch up your tix asap, or else you may be seeing Gaga-level resale prices very soon.

GONE AND FORGOTTEN – Gordie Brown

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Last year Gordie Brown was the unfortunate recipient of my “Saddest Career Path” award. Well, the new owners of Hooters Hotel Casino rebranded the place as OYO and quickly showed Mr. Brown the door. It certainly didn’t help that the one-time Venetian headliner slandered and criticized his own showroom and host hotel during performances, promising the audience that he’d rise again in a better place. Good luck with that, Gordie.

“THEY’RE STILL AROUND?” AWARD – Mariah Carey, Criss Angel, and Terry Fator

The unsinkable triad of Mariah Carey, Criss Angel, and Terry Fator is a log jam that just won’t flush. Maybe it’s just time to grab a plunger and force them down the drain. You already know my contempt for arrogant mouthpiece Mariah and douchebag Criss from last year’s summary. Those who’ve aligned themselves professionally with the faux-goth farce, in particular, have learned the hard way that they’ll eventually get stabbed in the back…and become a laughingstock in the eyes of colleagues. So the less said about them this time around, the better. Please, just go away.

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Terry Fator is new to the list but deserves a placing nonetheless. His stale attempts at comedy were tired ten years ago but have grown exponentially stale, with the offensiveness amped up to levels that have garnered reactions from both audience members and host hotel Mirage.

While Fator presented himself on America’s Got Talent as an awe-shucks kind of guy, those in the know are aware of the real details of his scheming, shocking personal life. Fator has been accused of scandalous treatment and abandonment of first wife Melinda, a skeevy relationship with half-his-age employee/wife #2 Taylor Makakoa (he proposed to wife #3 right in front of #2 during a performance…while still married), lawsuits with former managers and a very bizarre background (including being raised in a cult). Then there’s that mysterious death of his estranged sister in his home and the lawsuit that his mother brought against him, fearing for her personal safety. You can’t make this shit up.

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         Nothing says “Christmas” like your fist shoved deep inside a sexual predator doll…

The Mirage recently asked Fator to get rid of his controversial Donald Trump puppet “to avoid escalating the political divide in an already polarized country” as reported by the Las Vegas Review-Journal. Then Gary Costa, Executive Director of LGBTQ/AIDS charity Golden Rainbow sent a complaint letter to protest the show’s slandering of minorities and gays. Here is Mr. Costa’s public post via Facebook:

A few months ago I attended this offensive show at The Mirage Hotel and Casino and was horrified at the blatant racist, transphobic and homophobic content of the Terry Fator show. I contacted the management of The MGM including their diversity manager to formally lodge a complaint. While removing the offensive Trump puppet is a start it isn’t enough.

Blatant discrimination and public ridicule of Latinos and trans and LGBTQ individuals has no place on the Las Vegas strip disguised as “entertainment”. As long as the MGM corporation continues to allow this man to spew his hate under the guise of “family comedy” I will continue to boycott their company and keep pressuring their management to remove this outdated performer from their property permanently. There are literally a dozen or so ventriloquist acts in Las Vegas that are funny, entertaining, talented and enjoyable to watch. Terry Fator unfortunately is NOT one of them

My husband and I had a similar reaction when attending Fator’s sorry excuse for a show. We actually left the performance early and went to Le Reve instead. The fact that Fator is regularly listed on Groupon for $45 may be a sign that the wild, freaky ride is finally coming to a close. Then again, this is the same hotel that shuttered the Terry Fator Store in favor of Kardashian Khaos Boutique, so who can say? In any case, I urge you to boycott this hateful and revolting man, along with his nasty excuse for “entertainment”.

 

BIGGEST DISAPPOINTMENT – The Fate of FUERZA BRUTA 

The long-running international hit Fuerza Bruta had a chilly reception from Sin City patrons and was closed mere weeks into a proposed six-month run. A daring, innovative show, it should have been a slam-dunk on the Strip (see my review here). But Vegas audiences won’t buy tickets to something that isn’t a known quantity, much like at movie theaters, where sequels and reboots shove new ideas to the bottom of the box office tallies.

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Fuerza Bruta‘s quick shuttering inspired me to write what would turn out to be my most-read article of the year. If you haven’t taken the time to look at it, now would be a great opportunity. The in-depth piece analyzes the troubling future of the City of Entertainment and explains why so many shows have closed…and why others are on the chopping block.

International Hit ‘Blanc de Blanc’ Pops a Cork at Sahara

 

RUNNER-UP: Blanc de Blanc’s abrupt closure at Sahara

 

BITTERSWEET FAREWELL – Jeff Civillico Closes After A Decade

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It’s a well-known secret within the industry that Vegas performers often head to other cities on their days off (or take a Vegas hiatus) to supplement high overhead (and dwindling sales) on the Strip. Entertainers like Jason Tenner (PURPLE REIGN), The Bronx Wanderers, Criss Angel, and even Terry Fator hop onto planes (or busses) to fill much larger venues with significantly lower overhead.

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Jeff Civillico has been extremely candid with me through the years regarding his difficulties with the “Four Wall” method of running shows. It’s a business model that puts the responsibility and cost of performing on the entertainers instead of the old way when casinos supported their productions. And it seems like Jeff has had enough of the current system.

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Last Wednesday was Civillico’s final Vegas performance after a decade that saw him in places ranging from guest gigs with magician Nathan Burton to his first stint at Planet Hollywood (the restaurant, not the hotel) to residencies at Imperial Palace/The Quad/Linq Hotel, Flamingo and the Anthony Cools Showroom at Paris.

Jeff will continue to perform at corporate gigs around the country while focusing more time at Win-Win Entertainment, which matches performers with not-for-profit organizations. As a fan and personal friend who has followed Jeff’s journey from very humble beginnings to his current achievements, I will miss this handsome hunk of joy.

RUNNER UP – The Naked Magicians

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The cuddly, talented and adorable duo of Mike Tyler and Christopher Wayne enjoyed the prestige and opportunity (along with enthusiastic reviews like mine) to have their own Strip residency. Alas, the Naked Magicians experienced the same difficult reality that persuaded Jeff Civillico to say “I’m leaving Las Vegas”. Why fight an uphill battle when you can do financially better just about anywhere else in the world?

Stick with Vegas Unfiltered for more of 2019 – Year in Review in the days ahead.

R.U.N For The Exit – Cirque du Soleil’s Latest is an EPIC DISASTER


Tone-deaf stunt show-cum-blockbuster confuses vulgarity and violence for action…

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UPDATE 3/8/20 I just attended the final performance of R.U.N, which was abruptly shuttered. I got the impression that the majority of the audience was comprised of friends and family. The show began about 15 minutes late. There was a lengthy cast/crew onstage farewell and the performers were snapping photographs with each other as the curtain lowered for the final time. 

Despite my absolute dislike for this production, I purchased tickets for third row, center section, to cheer on the performers, who carried no blame for this costly disaster. 

UPDATE 1/7/20 VitalVegas.com has reported that ticket sales for R.U.N have been suspended beyond 4/30/20. It is not known at this time whether the show is being permanently closed or shut down for retooling. But it’s worth noting that all other Cirque du Soleil shows in Las Vegas are currently offering tickets through the end of December 2020. This doesn’t bode well for R.U.N, but then again, the show must NOT go on in its current state of “fiasco”.

If we can applaud entertainment companies for expanding outside of their comfort zone, then we’re surely entitled to speak up when they cross the line. That’s what’s been happening since Cirque du Soleil premiered R.U.N: The First Live Action Thriller at Luxor a few weeks ago. The public reaction has been overwhelmingly negative.

The outcry towards R.U.N has gotten so strong that I was bashed on Twitter for penning an opinion-free article describing the structure and content of the show for a freelance gig:

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Just how bad is it when readers DEMAND a negative review? Well…pretty darn bad indeed. R.U.N could have easily fallen into the category of “So awful that you have to see it”. Which is amusing when you consider that those very words described the previous occupant of Luxor’s theater – Criss Angel BeLIEve. That smelly heap of garbage somehow made it through ten long and miserable years (and several major overhauls) before Cirque could bleach away the stench and move forward with their next offering.

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But this is what they came up with for their newest show? I couldn’t for the life of me recommend R.U.N to anyone in good conscience…not even an enemy. It’s an ugly, inconsistent, poorly-planned and sloppily-executed mess that lies there like a dead body in a ditch. That is, except when characters are shouting F-bombs, being wheeled through the audience strapped to a torture device, having a syringe of drugs pumped into their arm or suspended over the audience by a metal claw driven into the face.

Yes, those things really happen in a Cirque du Soleil show….and people get up and walk out during these revolting sequences night after night (or so I’ve been told). It certainly happened during a Saturday 7pm timeslot that I attended. It’s also worth noting that despite plenty of nationwide advertisements and billboards all over the city, the auditorium was shockingly empty…..perhaps 25 percent of the seats were taken, and that’s not counting the two upper sections that are blocked off and covered with canvas. Ouch.

So how could something so awful make it past a brainstorming session, let alone twice-a-night performances on the Vegas Strip? Your guess is as good as mine. But let’s be real here….Cirque‘s reputation as a top provider of entertainment isn’t what it used to be. Viva Elvis did so poorly for ARIA that they ripped out their gorgeous theater when replacement production ZARKANA tanked there, too.

There have been numerous other missteps in the past few years that have allowed Spiegelworld (Absinthe, Opium and Atomic Saloon Show) to take away and put a new shine on Cirque’s tarnished crown. And the failing attendance of Cirque’s six other resident productions has led to rumors of them pulling out of Vegas altogether in the next few years. That’s what happens when you glut the market on a worldwide scale. You’re forced to eat your own tail just to survive.

Does anyone remember IRIS, the $100 million Cirque du Soleil resident show in Hollywood that closed after only 16 months? How about Paramour, the New York-based musical which did so poorly that Broadway’s LYRIC Theater paid Cirque $23 million just to close up and leave? There were other high-profile flops like Zaia in Macau, Zed in Tokyo, Banana Schpeel (New York/Chicago) and the first attempt to launch BAZ in Las Vegas (yes, it was Cirque that brought BAZ to Mandalay Bay before pulling out mere weeks into the run).

For some reason, Cirque du Soleil has been obsessed with Hollywood as of late. They seem to think that people want to pay over $100 to see a movie salute…at a time when people are skipping the cinemas and doing Netflix-and-chill at home. Besides film-centric IRIS and Paramour, they collaborated with director James Cameron on Worlds Away, a fantasy film that barely made a blip at the 2012 box office. Then Cirque produced TORUK – The First Flight, a poorly-reviewed touring show (based on Cameron’s AVATAR) that one magazine called “A troubling, redface spectacle”.

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                 R.U.N has guns, cars, drug dealers and LOTS of cardboard boxes…

Cirque even considered doing a Quentin Tarantino musical, but chose BAZ instead…because Tarantino films are so dark and violent! In an interview for Los Angeles Magazine in 2015, Cirque Theatrical‘s Scott Zeiger had this to say:

For the Record: Tarantino was going to be playing in Montreal. I went and loved it. I brought all of the top dogs from Cirque parent to see it. While all of them liked it, they were afraid for Cirque to get involved with this brand because the content of [Tarantino’s] films is pretty violent and deals with subject matter that might not be on the same wavelength with Cirque du Soleil’s more spiritual, love-oriented, happier themes.”

Yet here we are with a brand new $63 million production written by film director Robert Rodriguez, the man behind super-violent films like Planet Terror, Machete, Machete Kills and From Dusk Til Dawn. Somehow the company that once brought you glorious productions like Mystere and The Beatles LOVE thinks you want to spend an evening…and your hard-earned cash…watching the kind of show you’d slip into at Universal Studios for free to get out of the heat.

And as the photo below shows, people just didn’t care about the characters or what was going on all around them in the theater.

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                  Some people would rather stare at their phones than watch R.U.N…

That in itself shows just how tone-deaf Cirque has become to our current culture. And R.U.N lacks any kind of wink-wink fun that audiences might expect from the show’s advertisements. People are depicted as being tortured, killed and burned alive. One character has his arms and legs pulled out of joint and broken (with the sound of bone cracks amplified by Luxor’s megawatt sound system).

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Speaking of the sound system, this show is absolutely deafening. About five minutes in, my ears were literally hurting and my head began to throb. Fortunately, I’d read some online reviews warning about the extreme decibel level and brought along a pair of earplugs that stayed in place until the lights came up.

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So can this show be saved? Yes, it can. When Le Reve premiered at WYNN back in 2006, it was received so poorly that performances were cut and the production received a major retooling. Now it’s considered one of the best shows on the Strip…because audience reaction was analyzed and changes were made. And that HAS to happen with R.U.N, too.

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                   You’d have more fun playing a video game in a dark, creepy alley….

I predict a full closure for this show and a massive gutting. Costumes and sequences will be tossed out and the torture depictions have to go. Right now. There is no charismatic leading man to cheer for, no emotional investment in the fates of the characters, and even the plot (“retrieve a necklace to win” belongs in a video game, not a stage) will need to be refashioned into something people care about. A kidnapped child, perhaps? A damsel in distress? Anything but a pendant holding some secret data.

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The opening sequence, which is an actual film, goes on for far too long. From the get-go, people will be wondering “Did I just pay $300 to take my date to a movie?”. When flesh-and-blood characters actually appear, their performances and stunts will have you shrugging. Gang fights are so choreographed and punches so fake that you’ll think you’ve wandered into a high school production of “West Side Story”, despite silvery mylar costumes and moon boots that belong in a 90’s boyband video.

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Imagine if this show was built around an actual, heroic movie star! How cool would it be to watch the likes of Van Damme, Stallone, Chris Pratt or Dwayne Johnson doing their best stunt work before your eyes?  Even a live-action version of a familiar movie would be a cool idea…perhaps Rodriguez’s own SIN CITY, a hit film based on the works of Frank Miller. Now THAT is something I might recommend, not this violent, rambling and ugly excuse for a show.

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And yes, there were children in attendance despite a disclaimer stating that the material is intended for mature audiences 13 and up. I questioned a box office attendant as to whether they enforce this policy and she told me that they do not…it is a recommendation, not a restriction.

R.U.N is not a show for kids. Or teens. Or adults…or anyone, for that matter. Run as far away from R.U.N as you can…and don’t look back. Sorry, Cirque, but you’ve lost it…and heads are certainly going to roll.

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Normally I’d put ticketing information and showtimes here, but that’s not going to happen this time. See anything else (except for Mariah Carey or Criss Angel) but skip this bomb.

Photos: Sam Novak

Everything You Need to Know About ‘R.U.N by Cirque du Soleil’



Breaking down the high-octane elements of Cirque’s new spectacle…

Strap yourself in tight and prepare for the ride of your life at R.U.N, the latest offering from Cirque du Soleil. R.U.N is a high-octane thriller that’s part action movie, part stunt show and totally unlike anything you’ve ever seen.

 

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Billed as “The First Live Action Thriller”, Luxor’s new production blurs the line between performance art and cinema in mind-bending fashion. Written by cutting-edge film director Robert Rodriguez (“Sin City”, “Predators”, “Alita: Battle Angel”), R.U.N envelops you in a hyper-stylized vision of Las Vegas filled with gritty thugs, warring gangs, warehouse battles, and a hero on a quest to save the city.

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So how does a movie come alive? With the ultimate in technology and theatrical tricks, of course. Cirque du Soleil has always been at the forefront of entertainment innovation. Their employment of electronics, projection, and practical effects has been heavily integrated into productions ranging from The Beatles LOVE to . R.U.N represents the next step in Cirque’s evolution, and the results are stunningly effective.

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Imagine a chase across the Mojave desert recreated right before your eyes. Drivers engage in hand-to-hand combat while their cars spin, soar and race to avoid a speeding freight train. Motorcycles burst from the screen and soar up the aisles.

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Click HERE to continue reading via ShowTickets.com.

R.U.N performs Wednesday through Sunday at 7 pm and 9:30 pm. It is recommended for mature audiences 13 and up.