Las Vegas Shows Reviews

by Lincoln Hudson

With the Credit Crunch/ Down Turn/ Recession (call it what you will) slowly draining away everyones hard earned cash as well as their morale and patience one wonders if the big fish on The Strip are getting at all nervous. At around $190 Dollars a ticket those members of the public both brave and rich enough to be visiting Sin-City must be having second thoughts about venturing into the MGM, The Mirage or the soon to be open Las Vegas CityCenter. But this is the Land of Opportunity and where some shows may be experiencing a down turn in their ticket sales others may be experiencing a joyful increase in their bank balance. X-Burlesque may still be going and the Brat Pack may allegedly be back but the Stratosphere Hotel and casino is packing their audience in thanks to a coven of so called gorgeous looking topless vampire love angels who passionately perform a titilating and roller coaster ride of a show called BITE.

These beautiful vampirish femm-fetales are a lovable and sexy looking mixture of Daisy Dukes and Victoria beckham lookalikes who all answer to such names as Tush or Pain. Naturally the leader of the coven is a beautiful and sexy adonis of man who with his false fangs and light blue contact lenses turns out to be the Vampire King. A vampire king that is who strikes a not so surprisingly similar look to that of the James Bond character DR-Death from the movie Live and Let Die. Throw in some magic coffins that make women disappear, a large black grand piano that helps the vampire ladies appear and some rather predictable rock tunes (Born to be Wild) and you have an erotic but decently priced show that caters to an audience who are very comfortably accomodated in an excellent cocktail lounge.

The girls though beautiful and very sexy also contrast well with each other while the show is further complimented by an excellent ariel act not to mention a lead vocalist with the perfect voice for such a show. One could however be forgiven that the false fangs and rock music is just an excuse for the ladies to show off their best assets, but as the evening progresses so does the action.

The creators of BITE I think should be congratulated for choosing the right kind of theme that would compliment a group of Artists like this, however one bizarre moment occurs when towards the end of the night the all girl coven suddenly burst into their own vampire ballet. This puzzled the audience as for most of the night the girls seemed to be performing dance that was more exotic than balletic. Eventually however the conclusion emerges in the guise of the adonis Vampire King finally finding his erotic Vampire Queen.

It wasn’t until I saw the 1980′s movie The-Howling did I finally appreciate the hotness of the topless vampire. Being seduced by a young and nubile female vampire coven I thought must be the ultimate fantasy for men (and women) who wish to grow old disgracefully. And, it must also be the ultimate secret weapon that downtown Las Vegas can deploy against the big boys in up town Sin-City.

While Bite is only a small topless revue it does possess (other than heart, passion and beautiful women) seats at affordable prices And for this you get comfort, good service and excellent entertainment.

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by Denise Almas

Fresh and mature is the oxymoron that best describes Emmy award winning comedian Dana Carvey. This comic who enjoyed a seven year run on Saturday Night Live and may best be known for his portrayal of “Garth” in Wayne’s World, has matured with his comedy, bringing wisdom to his stand-up performance that attracts a diverse crowd. Entertaining young adults to senior citizens, Carvey delivers laughter on almost every subject, drawing inspiration from current events as well as his own life.

Before entering the stage, the audience giggles at a short video of Carvey’s earlier work, which includes the Church Lady, Hans of Hans and Franz, as well as his impressions of George Bush, Sr.

The Carvey of “Then” is still much a part of Carvey today, as he still enjoys impersonating Bush Sr., as well as Bush Jr., even making himself giggle “What a freak show that was!,” Carvey exclaims about the most recent Bush Administration. Of course, he then quipped that the current Congressional leadership is a “freak show” as well, and he admits he is not quite sure what to make of Obama, a President who can give a ten-minute answer to a single question.

Carvey’s appeal however is not in his ability to portray Presidents, but rather in his ability to keep his material fresh and up-to-date. Unlike many comedians, Carvey has evolved with his art and allows his maturity into his act, making his comedy more real and accessible as he discusses the trials and tribulations of having teen age children, as well as the realization of the passing of time when he received his AARP card. Glimpses into Carvey’s personal life makes his show more enjoyable and entertaining. The older crowd can relate to having teen children who have suddenly decided that their parents know nothing. The younger crowd can remember thinking that their parents knew nothing when they were in high school. Is this really fresh Absolutely. Carvey is keenly aware of current events and this shines through as he touches on the universal experience of family life.

From politicians to ordinary people, no one is safe from Carvey’s incredible voices, quick wit, and improvisation. As a caveat, if you do not want to be picked on, do not sit in the front row at his show. Like many comedians, he will ask about your life and turn it into a joke; however, he may also want to sing about it. Carvey has an incredible knack for quickly turning personal information into a fun folk song. Indeed, Carvey loves to strum the guitar and sing a tale of woe. As Carvey would say, “What a freak show!”

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by Devon Brooke Clasen

George Wallace has been thinkin’, and his audience is privy to the hilarious results in his show, I Be Thinkin’, in the Flamingo Hotel Showroom.

Attendees are treated to a classic show experience similar to what visitors of Vegas’ heyday must have experienced. Guests aren’t merely herded into a huge theatre constructed with hundreds of seats. Instead, a more genteel, supper club atmosphere is arranged in the showroom, more conducive to a comedy or variety show. The line meanders through the casino and into the showroom, a testament to Wallace’s popularity (as witnessed by his show having been voted best 10 pm show). A tuxedoed maitre ‘D greets guests and politely ushers audience members into the intimate yet comfortably sized showroom, where vintage banquette seating houses groups of three to eight, ideal for attending with family, friends and coworkers.

Additionally, several long tables flank the stage and provide seating for about 20 people each, no doubt providing prime material for Wallace’s largely improvised performance. Be warned: if you choose stage-side seating, you may become funny fodder for the comedian’s act.

Opening the show, an a capella band of six young men called Mosaic serve to warm up the audience for 10-15 minutes with impressive musical melodies performed entirely without instruments, after which time a dashingly dressed Wallace joins the group on stage and begins his comedic banter. After his good-natured assault on the band, Wallace turns his attention to his audience. (Editors Note: Wallace may or may not have an opening act and the act is subject to change).

Wallace playfully teases a select few audience members, usually the ones making the most noise. If you’d prefer to be excluded from his mockery, don’t draw attention to yourself or sit further back in the theatre. But Wallace’s jokes and jibes always remain innocuous and well placed, and offense need never be taken.

Running the gamut from topical humor and regional ridicule to commonplace curiosities and Seinfeldian observation, it seems Wallace can make fun of anything. Sometimes sharp, sometimes silly but always funny, Wallace also ventures into more edgy comedic territory, and no one is safe from his onslaught. From midgets to the elderly, from cops to yo ‘mama, Wallace’s material remains relatable and relevant yet uproariously raucous. Touching on religious humor, Wallace often invites self-described gospel singers from the audience to join him on stage and belt out a spiritual hymn, an unexpected but uplifting departure from his biting barbs.

Closing the show, a few lucky audience members are rewarded with giveaways such as DVDs, gas cards and even cash; evidence of Wallace’s appreciation and generosity towards his fans. Wallace then stages outside the theatre to meet and greet his fans in a gesture of accessibility and availability not often found elsewhere in Las Vegas.

A refreshing and nostalgic departure from the “New Vegas”, George Wallace’s show and indeed the whole experience recall the retro days of supper clubs, variety shows and pure, unrehearsed, unscripted entertainment. Its Las Vegas as it was and should be again: The Entertainment Capital of the World, indeed.

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by Lincoln Hudson

Still going after a quarter of a century on the Las Vegas Strip is the ultimate tribute spectacular called Legends In Concert! This nostalgic piece of what used to be called classic Vegas rotates it’s stars every three months thus serving up a regular and diverse diet of both comedic and musical impressionist headliners. Currently appearing on the bill according to Marcel Forestieri who plays Jay Leno is the creme de la creme of the musical tribute world. Naturally one would always prefer to see the actual legends themselves but should either death or retirement be the Artists problem or instead the publics purse strings be too tight then there is always the next best thing available. And at the Imperial Palace they are currently serving up the next best thing in the form of the impressionist worlds version of Donna Summer, Justin Timberlake, Ann Margret, Madonna and Elvis Presley.

Kicking off the show is Marva Scott’s rather muted and detached Donna Summer who for if it hadn’t have been for the fact that the real Donna Summer was projected on video screens at either side of the stage I would not have had a clue who the Artist was actually playing. Beautiful though her singing voice is I can’t help thinking that what is missing from Ms Scott’s portrayal of Donna Summer is any of the charisma that has actually made the original singer a star. In fact if there is one criticism to be made of the artists as a whole (with the exception of Lori Russo who plays Ann Margret) it is the fact that while they might look and sound like the people they are playing they unfortunately lack star status.

But what proves a legend to be a legend is the fact that there are people and performers out there in the entertainment world who want to earn a living portraying you.

Marcel Forestieri’s Jay Leno is certainly good enough to fill in the gaps between acts but I still yearn for the day when someone might step up to the plate and perhaps give us a Bill Maher, a Steven Colbert or even Heaven forbid a Bill O’Reilly!

Next up was Scott Jordan’s Justin Timberlake who’s confidence certainly grew with each song but dressed in a fully white suite and hat from head to toe he looked more like Gregory Peck from the movie The Boys From Brazil than an actual teen rock star. Again following the rather passive and bored Marva Scott seemed another Artist who at first seemed almost fatally unaware that he had an audience to perform to. Never the less he was a marked improvement on Donna Summer.

Following Timberlake the stage finally came alive with the titanic performance of Lori Russo who beautifully played with style, charisma and passion the 1960′s movie legend Ann Margret. Here was finally an Artist who quite literally mirrored the very star who was being projected on the video screens and who also threw absolutely everything of her unique talent into the fifteen minutes that was her spot in the show. If there is any reason at all to stump up the cash to see this show then I would say that it should be to see this wonderful old school and old style Vegas Artist give her all in front of the Legends In Concert Band. Clearly Lori Russo is an Artist who just loves to perform for her audience and with her great voice, great charm, great personality, great talent and great timing I could only wonder as to why someone somewhere has not already either booked her to support an actual star or instead given her her own show and a Viva Las Vegas Orchestra! Yes the star and saving grace of the show was indeed Lori Russo with her beautiful and generous tribute to the legend Ann Margret.

Coty Alexander with a rather predictable portrayal of Madonna, which only proves my opinion that the real Madonna is such an enigma that no one can ever come close to portraying anything other than caricature of the real woman. Like a Virgin wasn’t the highlight of the show. However… you probably didn’t go to Legends just to see Madonna.

It wasn’t until the very end that of course the show gave us The King! Interestingly enough even though Matt Lewis’s portrayal of the young Elvis sounded good it did however leave him looking insecure and awkward. I can only imagine that this is because he was having to play the character of Elvis without the fluff and nonsense that much later on became the cliche that Elvis himself felt difficult to live up to. In fact Lewis didn’t actually hit the spot and get into his stride until he himself had his own Elvis caricature to hide behind. That said the stage was happily revisited by Lori Russo who did an Elvis and Margret duet which left me with no doubt that the evening itself belonged to the stronger artists out of the group who were both Matt Lewis and Lori Russo.

Clearly this show has merit and is much loved by it’s audience otherwise it would not have survived the 25 years that it has been at the Imperial Palace. However if there is one thing that I managed to take away from the evening it was the fact that thanks to the performances of Lewis and Russo I was left with no doubt as to why the 20th Century will quite rightly go down in history as The Century Of America.

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by Denise Almas

Crude, crass, and utterly amazing easily describes the laugh out loud performance of Anthony Cools, hypnotist and comedian extraordinaire. The Anthony Cools Experience is a tremendous exercise in what can happen when you give someone else power over your mind, pushing you to do things you probably would not consider.

As you enter the theater, you pass a sign stating that you are waiving any rights to what happens in the theater and that the Anthony Cools Experience has the right to videotape and sell what happens during the show. At the start of the show, a little white rabbit greets the audience with warnings about the
vulgar language and acts that will be performed; however, the rabbit does issue caveats regarding specific words that may not be uttered. This bunny sets the few lines that Cools will not cross.

After establishing the boundaries, Cools first asks for volunteers as he does not hypnotize anyone who does not want to be. However, after the five minutes it takes to put his volunteers in a trance, he takes those people off the stage who did not fall into a hypnotic state and replaces them with audience members who did. Warning: Do NOT fall asleep if you do not want to be a volunteer replacement!

After collecting all of his volunteers, Cools begins to hypnotize them to do both simple and completely bizarre acts. At the simplest, he hypnotized one lady to forget her name. With a completely blank stare on her face, “Nikki” did not even know her name when Cools directly said it to her.

Another volunteer was hypnotized to believe that every time he heard Johnny Cash’s “Ring of Fire” that behind was burning and the only way to put it out was to scoot his bottom along the stage. Of course, when hypnotizing this person, Cools used the least proper words possible in order to rouse the audience, intensifying the laughter and energy of the show.

Anthony Cools has always been fascinated with the paranormal, specifically hypnosis, and began performing in 1994. He advises the audience that historically people thought you could only be hypnotized if you were not very smart. Instead, he says the more intelligent you are, the easier it is to hypnotize you. According to Cools, the sharper you are, the more able you are to focus and visualize, allowing yourself to become vulnerable to the hypnotic state.

Volunteering at the Anthony Cools Experience is what makes the show. Every night is different as every audience is different. So, you are guaranteed a fresh show as no one can predict how the volunteers will react to the hypnosis. The only predictable part of this show is that Cools is a tremendous talent who is not afraid to push the envelope. Indeed, if you are not prepared to see, hear, and speak “evil”, then you will not enjoy the “experience”. Instead, if you are open-minded and enjoy outrageous shows performed by someone who has mastered an art, this show tickles the funny bone and hits the jackpot.

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by Erika Bayer-Polak

Dreams can often be ethereal and elusive, and “Le Rêve” is no different.

Watching “Le Rêve” is in essence watching someone else’s dream, which is represented through a bed that floats away in the beginning of the show. Nonetheless, if most people’s dreams mirrored the spectacles and intricacies in “Le Rêve” it would be baffling if anyone would ever want to be awake!

The Wynn Theater, which is home to “Le Rêve,” is in and of itself an act. The round and tiered theater is drenched in rich colors and fabrics and eludes a sense of comfort and tastefulness. But the eye catcher is the center, the stage, if you will, which is water. Not water as in a small pool, but entirely consisting of water. However, all of the action is not in the water alone, quite a few of the intrepid acts also take place in the air.

While it is daunting to describe the show, it contains a profusion of acrobats, synchronized swimming, diving, dancing and music, which runs the gamut of operatic pieces to more contemporary, yet soothing compositions. The show’s creator, Franco Dragone, presents the audience with a truly mesmerizing display of the cast’s acrobatic and human aerobatic talents.

The main character, the woman who is dreaming, encounters an assortment of characters ranging from a Zeus-like ruler to a jester to her beloved to a devilish nymph to comedic-relief angels. There certainly is not a shortage of charismatic characters, even if most of them do not speak.

“Le Rêve” is surreal and possibly avant-garde but not in the sense that only a select few would be able to enjoy it. The show surely offers some form of delight for every type of audience member; it is not so eccentric that one cannot enjoy the seemingly uncomplicated aesthetics and synchronization which without doubt took the cast years to master.

“Le Rêve” offers a fantastical visual and audible dream for all to envisage, and having the chance to be a part of a dream of another is too rare of an opportunity to bypass, especially in a theater which can produce rain storms and platforms which magically rise out of the water.

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• Cirque du Soleil’s KA Las Vegas Tickets

by Nicole “Niko” Acevedo

Experience another world in another time, perhaps another universe. The melodies that echo are unfamiliar yet enchanting and the passionate gestures, mastered martial artistry, and breathtaking aerial acrobatics will guide you through this journey of the Imperial Twins and their struggle through the tragedies of war, loss and separation, and the dawn of new love and reunion.

KA is “the fire that has the power to unite or separate and the energy to destroy or illuminate.”

Accompanied by a powerful and enigmatic original musical score, this spectacular theatrical production will draw you into the depths of a transcendent voyage. Ka is like a compelling visionary experience and vibrant dreamscape where there are no limits to the incredible abilities of the human body, joined with the mind’s imagination. Through an array of lifelike and engaging landscapes, Ka encompasses a treacherous ocean storm upon a ship, plunging through the deep sea, scaling steep mountain cliffs, washing ashore fine sandy beaches, lush green forests with unique over-sized creatures, flying the skies on a man-powered aircraft, enduring a blistering snow blizzard, and even a quite convincing and heart-felt shadow puppet performance.

Of course interwoven into these scenes are the perfected circus arts, acrobatics and martial arts of 80 talented, passionate and dedicated performance artists, including: Wheel of Death, Bungees, Aerial Cradle, Aerial Straps, Swing Poles, Capoeira dance, Wushu martial arts, and a very elegantly effortless Baton Ballet dance.

Unique to other astounding Cirque Du Soleil productions, Ka delivers theatre-like story telling with 360 degree rotating stages and moving platforms along with vivid interactive video projections adding to the backdrop of this magical world. In one of my favorite scenes, the Spearmen and Archers are chasing the Twin Sister, the Nursemaid and the Valets up a steep cliff. Creating a truly spectacular live fight scene, dangerous flips and stunts are performed by fearless artists in conjunction with computer-generated special effects and interactive video projections. The tilted stage (up to 110 degrees) rotates beneath them during the chase as they dodge arrows and fight, climb and slip down this perilous cliff.

Another fierce battle scene produces a “Matrix” phenomenon, where the audience peers down upon the warriors from a top angle view as they (in slow motion?!) jump-kick into and fly backwards away from one another on a battleground of blue molten with the fluid rippling at their every step. How is this possible in a live performance you might ask? Fortunately for you, this is just one of those things you have to see for yourself!

I’m never one to spoil surprises so you’ll just have to treat yourself to an unforgettable performance that awakens all your senses, releases your deepest emotions, and unlocks your childlike imagination. There are also a number of goodies to select as souvenirs such as T-shirts, colorfully designed mugs, key chains, postcards, books, and even painted and feathered theatrical masks. To truly take a piece of this experience home with you, I would suggest the live DVD including behind the scenes documentary and special features from its earliest conception, or the CD soundtrack. Listening to the soundtrack immediately conjures the visual imagery and emotional connection of that moment in the show as if I were experiencing it all over again.

• Cirque du Soleil’s KA Las Vegas Tickets

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• The Rat Pack Is Back Las Vegas Tickets

by DW Grant

Returning to 1962 to catch the greatest act in Las Vegas history is now as easy as buying a ticket. “The Rat Pack is Back,” The Sands has been resurrected, Las Vegas has only one sensational act, and the production is as hot Vegas has ever been or may ever be.

Forget about blue men, tumbling clown shows, red pianos, and all Elvi. Sizzling hot Vegas nights have returned and the chaotic Corporate Canyon has been turned back to a dazzling Neon City again. The show room is gaudy red curtains, dinner booths and tuxedoed waiters dashing from table to table. The New York strip steak is worthy of praise and the live 13 piece orchestra warming up behind the half circle of gold waterfall curtains is ready to pump out gobs of showroom glitz.

Smoke hovers around the chandeliers and stage lights and suddenly the unseen presence of “Old Blue Eyes” is in the room. It’s enough to start goose bumps racing up and down your old bow tie. A voice booms out of somewhere and declares “During the show still photography, drinking, gambling, and carousing is not only allowed but enthusiastically encouraged!”

You know right away this IS your father’s cabaret show.With a snare drum riff the orchestra kicks off and out comes Joey to tell a few off color jokes and harass the audience. Ok, Sandy Hackett doesn’t look a whole lot like Joey Bishop, and his jokes may make you blush, but this is a “Tribute” not a impersonation show. This is also as close to 1962 adult humor as we are going to see and hear, so go ahead and laugh, even if you’re from Wisconsin and you’re a little embarrassed by the word “Viagra.” Sandy, son of the late great Buddy Hackett, is a terrific comedian in his own right and does Joey proud.

Dean comes out next singing ‘When You’re Drinking…” a knock off of “When You’re Smiling.” He looks very bombed, of course and tells jokes like “Well ah went on The Whiskey Diet recently. In one week I lost 3 days. Whoa!” You can’t be Dean and not sing “That’s Amore” and he does, inviting the audience to join in. Drew Anthony is a young Dean, but a very capable one, whether singing, dancing on one leg, or hoisting a giant martini glass.

Sammy is on stage next, his shark skin is shiny blue, and he just about takes over the show. And it would be Sammy’s show if Dean didn’t keep butting in and Joey didn’t try so hard to make Sammy look small, but that couldn’t happen to Sammy. “That Old Black Magic” comes out big and as smooth as silk, and “Mr. Bojangles” still brings a sad joy to the heart. There is something electric about Kyle Diamond’s performance. Perhaps it’s the excitement in his eyes and the pure Sammy Davis Jr. energy that he pours out onto the audience. He makes us as glad to be in the audience as he is glad to be on stage. Now that we’ve been blushed by Joey, boozed by Dean, and seduced by Sammy, we know we will not be disappointed with Frank.

In contrast to the goofy antics of his buddies, David DeCosta walks Frank Sinatra on to the stage with an authority that ends all questions to who is the real star. Looking suave in his expensive grey suit with the small red triangle handkerchief in his breast pocket, he commands and corrals the other players into now participating in HIS show.

After belting out “That’s Life” Frank invites his cast to “pull up a stool and sing some songs.” It’s vintage Rat Pack with old songs and a few updated jokes, which they would probably tell today about 21st Century politicians and subjects like AFLAC and Brokeback Mountain. Of course the evening ends with Frank delivering “My Way” his way to big cheers from the audience. DeCosta’s solid command of his character, spot-on Frank singing voice, and his pretty blue eyes (my wife says), justifies the anticipatory goose bumps.

Note: “The Rat Pack is Back” rotates actors at times so you may be enjoying other players at your performance. I heard someone named Marilyn showed up at a later show, darn! Maybe that’s why the cast seemed to be picking on blondes in the audience all night. Our players were Kyle Diamond as Sammy, Sandy Hackett as Joey, Drew Anthony as Dean, and David DeCosta as Frank. All did a terrific job and brought me all the way back 1962.

A double yums up to the chefs cooking for this show. Dinner shows can be a bit scary because when you’ve tasted one rubber chicken pasta dish, you’ve tasted them all. At this show, however, the steak was tender and juicy, and what was they sauce you smothered it in? Omygod! Great job, chefs! “The Rat Pack is Back” is performed for audiences all over the world every day, but it’s great to get to see the “home” show. The Rat Pack belongs in Vegas, in 1962 or 2022. May it play at least until then.

Actually The Sands is just one showroom at The Plaza at 1 Main Street. Dinner starts at 6 and the show at 7. The entire production runs Monday to Saturday, with an extra show playing at 10 on Saturday night.

DW Grant is a long time resident of Las Vegas, and has been writing for newspapers and magazines for almost 40 years. To read more of his creations go to WWW.THEBIGe-VENT.com .

• The Rat Pack Is Back Las Vegas Tickets

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• X Burlesque Las Vegas Tickets

By Lincoln Hudson

What Happens in Vegas stays in Vegas, as the saying goes. At The Flamingo, nothing could be hotter than the extraordinary 75 minute high octane dance show called ‘X-Burlesque.

Sharp, sexy and very entertaining to the eye, the X-Girls perform in the Second City Theatre displaying a beautiful mixture of both modern dance and the avant-garde. Sexy or adult musical revues seem to be catching on in Vegas these days and this one seems quite happy to be competing alongside Bite and Cirque Du Soleil’s Zumanity.

Not once does the pace let up as these sexy women give their all to an audience which simply doesn’t know what to expect. For musical theatre lovers, there are some very cute dance routines to the music of both Chicago and The Producers. For those enjoying the feminine form, a simple but beautiful piece that takes place between two of the lovely ladies and a bath tub.

The theatre is an excellent venue which allows the audience to experience the show in a close and intimate manner while sipping a adult beverage. All while enjoying an exciting experience that consists of six talented and beautiful burlesque dancers strutting their stuff as the hilarious show comedian Nancy Ryan delivers a non-stop opus of laughter.

Fully aware that not every visitor to Las Vegas can afford the cost of seeing what’s available in the show spectacular arena’s at the MGM, Ceasars Palace or the Mirage, The Flamingo accommodates this entertaining and affordable show in their own hotel. It’s nice to see smaller hotels on the strip producing affordable, sexy entertainment for their guests.

• X Burlesque Las Vegas Tickets

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• Menopause The Musical Las Vegas Tickets: Call the Hilton Box Office at 800-222-5361

by Sarah Steinberg

Since March 2001, the hilarious show “Menopause The Musical” has entertained and inspired women from coast-to-coast and internationally. The work of writer Jeanie Linders, this is a 90-minute production that’s sure to tickle the funnybone. Whether you’ve been through menopause or not, “Menopause The Musical” makes for an evening you’ll never forget. The show is a celebration of women who are on the brink of, in the middle of, or who have survived the dreaded change. For our four not-so-young gals, it’s the dreadful change. We follow the trials and tribulations, mostly the trials, of four women: the business executive, the housewife from Iowa, the washed-up soap star and the middle-aged hippie.

Set in Bloomindales in New York City, no menopausal stone is left unturned in this hilarious musical. These four strangers meet in the department store, bond when they realize they’re all going through “The Change,” and become fast friends. The actress is in denial about her age and chalks her mood swings up to being part of the acting process. The businesswoman forgets what she’s supposed to talk about in the meeting she is about to lead, thanks to her menopausal brain fog. The overweight Iowa housewife hates the physical changes forced on her body and can’t fit into the skimpy lingerie she so desperately wants to buy on her first trip to New York that she hopes will put. Our Earth Mother is way too cranky to successfully meditate any more, so she eats too much and terrorizes her husband instead. The women find relief in their anti-depressants. They all pop a different pill and our hippie downs the St. John’s Wort instead.

The musical numbers are more than a treat; they are hysterical. The 28 songs are sensational and you don’t want them to end. That’s because they parody songs from the 60′s and 70′s. To the tune of “Stayin’ Alive,” our menopausal gals, in the midst of hot flashes, sing “Night Sweatin’.” Songs become stories of aging, wrinkles and plastic surgery. The refrain of “California Girls” by the Beach Boys is “I wish we could be sand and normal girls.” Songs such as “Looking for Food” instead of “Looking For Love” will make you howl.

Whether they are our mothers, sisters, or us. These four women are completely captivating and pull us in the minute they walk onstage. The female bonding of these women, strangers at first who meet at Bloomies, eventually leads them to realize there is no reason not to be happy. They are at a stage in their life where they know who they are and finally become empowered. In honor of their newfound empowerment, they belt a couple of numbers not about their husbands, but about their new battery-operated friends. The production ends with the audience being invited on stage to be part of the celebration.

“Menopause The Musical” plays at the Hilton Resort & Casino seven nights a week with matinees Wednesday, Saturday and Sunday.

• Menopause The Musical Las Vegas Tickets: Call the Hilton Box Office at 800-222-5361

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