Actor/Musician Ian Ward is Ready to Rock ‘The Vegas Room’


Youthful heartthrob from “Rock of Ages” and “BAZ” possesses the soul of a legend…

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There are many who consider Palazzo‘s BAZ to be one of the greatest productions that Las Vegas has ever seen. A gentre-defying blend of modern music and the works of literary greats as seen through the eyes of film director Baz Luhrmann, BAZ provided a forum for some of the best entertainers in the business.

When Ian Ward stepped into the role of “Romeo”, the youthful performer had big shoes to fill. James Byous, LJ Benet and Myles Nuzzi had all been stunning as the ill-fated lover, yet Ian (full name Ian Ward Brininstool) managed to make his own indelible impression. His powerful, heartfelt performance of Elton John’s “Your Song” elicited cheers from the audience…and the tragic “Love Is Blindness” (below) could cause you to erupt into sobs.

Ian made his stage debut at the age of nine, landing the lead in a large scale production of Oliver. Since then he’s taken on television with a role in Veronica Mars and the New York stage in musicals like Gettin’ The Band Back Together, Leaving Eden and the Radio City Music Hall Christmas Spectacular.

The native of La Jolla has performed on cruise ships around the world and lived in cities as diverse as Los Angeles, Miami, and of course, the Big Apple. Currently completing his studies at Berklee College of Music with an album on the way, he’s released a collection of self-penned singles that reflect a variety of cultural experiences.

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Ian was performing in the hit Los Angeles production of Rock Of Ages (with fellow BAZ alumnus Sean Lessard) when the pandemic forced it to close. Since then he’s been focused on his studies and writing new music. Like BAZ, Ian refuses to be categorized, yet influences from The Beatles, Elton John and classic rock anthems come through.

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Like most entertainers, the sandy-haired Californian has been yearning for a return to live performance. He’ll be center-stage this Friday and Saturday with an intimate showcase at The Vegas Room. I caught up with Ian over the weekend, and this is what he had to say:

When did you first visit Las Vegas, and when was the first time you performed here?

Growing up in San Diego, Las Vegas has always been a vacation destination for me and my family. I clearly remember spending my 13th birthday here and doing the indoor skydiving experience with my best friend. I think somewhere deep in my subconscious, I always knew that I would be spending more time in this special city. My dream came true when I was cast as Romeo in BAZ back in 2017. This was my first time experiencing performing here and getting to know the entertainment community in Las Vegas.

Roles in BAZ, Footloose, and Rock of Ages have allowed you to stretch your acting, dancing and singing muscles all at the same time. Do you approach a song “differently” when you’re performing in-character versus as yourself? Which do you prefer?

When I am performing a song in a musical, I bring the past experiences and memories of that character into the words that he is speaking and singing. As an actor through song, you must be able to convey to the audience where this character is in their particular journey within the overall story of the play.  

When I perform an original song or a cover song in a cabaret setting, sometimes I am more focused on feeling the energy and vibe of the material and connecting with the audience. I want to communicate directly and bring them along on the ride. It’s much more collaborative with the people there enjoying the music.

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Photos: Ryan Salinas for The Vegas Room

You tend to gravitate towards explosive productions, yet your solo work is of a more romantic nature. What kind of music do you listen to for your own enjoyment?

I love doing large scale productions because of the quality of lights, sound, special effects and the entire creative team that comes together to create something spectacular. However, in my solo work, I tend to gravitate towards love stories or stripped down acoustic sounds. I think this comes from my father’s influence in classic rock and my love for classic songwriters such as Neil Young, James Taylor, Sting, and The Beatles. I would love to blend high quality production with my own songs eventually.

Your cover of “Across The Universe” with Ruby Lewis is gorgeous and pure in its simplicity. How did that collaboration come about, and do you see the two of you working together again?

Ruby and I love to collaborate on songs that we share a passion for. One afternoon at my parents house, we were listening to some oldies and “Across the Universe” started playing. Ruby’s voice is so pure and strong that when we blend harmonies, it always sounds special and unique.  

We decided that it would be a nice take on a classic to do our own rendition, and I think the setting of my deck made the ambience all that more magical. She and I will definitely be doing more writing and recording together in the future. She is featured as the background singer on my song “Tru Luv” and sometimes I help arrange or cowrite on her songs. We hope to be onstage together soon!

Your IMDB and social media bios don’t list your birth year. Is there a reason behind that?

Haha! No reason for that actually. Maybe it’s just an industry thing…I think my agents might have taken it down online. I was born on Valentines Day, 1996.

You’ve shone onstage, on the screen and in the recording studio. What’s next to conquer?

I want to continue to grow my catalog in the recording industry and make songs that will make a difference to society and uplift people. A large goal of mine is to get significant progress made with my entertainment company ‘Outward Original’. This company was formed to establish artistic media that can create understanding and harmony. And, I want to collaborate with other artists to make art across all mediums. 

Many artists have reported a surge of creativity during the pandemic. Has this happened to you as well? What did COVID-19 deliver to your legacy?

This year has been very tough on everyone. Covid-19 was responsible for the closing of one of my favorite productions I have been a part of…’Rock of Ages Hollywood’…just after we had opened. It also took the life of my great friend, Nick Cordero, whom I shared the stage with in ‘Rock of Ages’.  

I went though a couple months of reflection and a form of depression where it didn’t feel authentic to be creating or trying to push my voice out into the world. However, now I am feeling invigorated and have been blessed with an influx of new opportunities, so I’m ready to get back out there and create!

Your website is “Ian Ward Out Ward Dot Com”. What is the message or meaning of that?

Ward is actually my middle name. My last name is Brininstool, of German descent. ‘Outward Original’ is the name of my entertainment company. And, being a spiritual person, I believe in the process of taking inspiration and then letting that flow freely outward into the world. So this play on words seemed both fitting and appropriate for my company and my beliefs.

Is there one well-known role that you’d love to take on? Who’s your dream onstage partner?

A dream role of mine would be to play Roger in RENT! Or be a part of a brand new, revolutionary musical where I get to build a role from the ground up. I had an experience like this when I was the first “Ren” in ‘Footloose’ for Norwegian Cruise Lines, because I got to make a lot of creative and artistic choices that became a part of the track for other actors to come! I am excited to see which great performers I get to share the stage with in the future!

The Vegas Room has quickly become the go-to venue/hangout for BAZ alumni (Randal Keith, Lisa Marie Smith, Anne Martinez, Eric Jordan Young) as well as other highly seasoned performers. Your inclusion in their entertainment line-up is testimony to your talent. What can guests expect from your showcase?

I feel so honored to have been asked to perform at The Vegas Room! My peers that worked on BAZ with me are so talented and are such gems in this city. I look forward to joining them in the roster at this great venue! The audience can expect a night of an eclectic smattering of classic songs, some originals I have been writing recently, and stories from my career that I hope will excite and interest people. I can’t wait to connect and entertain to bring some light to their night!


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Ian Ward takes to the stage of The Vegas Room on August 7th and 8th at 8pm. Options include a 6:30pm dinner/show or 7:30pm light bites/show. Click here or call  (725) 206-7059 for more information and reservations. The Vegas Room is located at 953 E Sahara Avenue Suite E18 (Bright RED Doors), Las Vegas, NV 89104 

 

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

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

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