Las Vegas Shows Reviews

by Terri Feld

At first glance Penn & Teller’s show might seem the anti-Vegas Las Vegas show. With no fancy props, bedazzled showgirls or big-screen video embellishments, the pair cut to the heart of smoke, mirrors and illusions, yet still manage to leave audiences amazed and mystified by their stripped down, inside-out magic, as well as thoroughly amused by the accompanying sidebar antics. 30 years performing throughout the world uniquely prepared these magician/comic/entertainers for their sit-down engagement at The Rio, now in its 5th year (shows 9pm nightly Sat-Wed)

Ticket holders may be seated up to an hour in advance to enjoy the jazzy rhythms of the Mike Jones Duo, a virtual mini-show in itself. Throughout the set, Jones invites audience members up on stage to “look at a box and sign an envelope” – both props to be used later in the show. Just how they are used we won’t give away here. Not that it’s certain Penn & Teller would even mind. After all, their stock and trade, celebrated throughout the show, is all about giving away the secrets – of magicians, mystics and assorted charlatans. As world renowned authors, Broadway and film performers, and stars of their own TV show and specials, Penn’s in–your-face personality along with Teller’s mime-savant persona are well-known in most circles.

In terms of upholding their reputations, the two do not disappoint here at The Rio. Employing a variety of standard magic bits from a simple Cups & Balls
illusion to the more dramatic Sawing a Lady in Halves, Penn & Teller manage to inject their unique take and unexpected punchline every time. Other parts of the act incorporate totally unusual devices, such as an Airport Metal Detector. And Penn’s romantic fire-eating interlude is in a category all its own, as is his nail-biting nail gun routine. Teller, despite his trademark staunch silence, shines every bit as brightly in many acts highlighting his deft sleight of hand skills.

A double-barreled finale fittingly rounds out this evening of magic, mirth and mayhem. Both Penn and Teller have honed their individual styles and abilities of audience interaction to perfection, thus making this anti-Vegas show perhaps the ultimate Vegas experience by creating an intimate and lasting connection with the audience.

Comments Off

by Sarah Steinberg

“Barbra & Frank, The Concert That Never Was…” at the Riviera Hotel & Casino is pure Vegas entertainment. Imagine if you will, an evening with two of the greatest musical icons of the 20th Century – Barbra Streisand and Frank Sinatra, together on the same stage. It never happened. It never could have happened. But Sharon Owens and Sebastian Anzaldo will make you feel as if it did, with you
right there in the audience. Frankie starts the night off with the classic “I’ve Got A Crush On You.”

Anzaldo is dapper and debonair as Sinatra and quickly pulls you into the illusion. He’s got Frankie down. The voice and the physicality is unmistakably Sinatra. Owens’ Streisand has all the mannerisms of the real Streisand – the long nails, the hair. But it’s when she opens her mouth that she becomes Barbra. Her nasally speaking voice is true to character. She delivers the songs like a pro.

The relationship between these two is magic. Sinatra is cool and aloof, wanting to do his thing, while Streisand doesn’t let him get away with anything and takes great pleasure in pestering him, ribbing him and delivering the delicious personality she’s famous for.

Streisand wants in on the act and Sinatra tries to snub her, saying he only records alone. That doesn’t stop our stubborn and sassy Babs, who makes sure that she’s heard. Owens butts right in with “Luck Be A Lady” which beautifully showcases her skill. She then belts out some show stoppers, while a long video sequence from “Funny Girl” plays. Songs include “Second Hand Rose,” “Don’t Rain On My Parade,” “Woman In Love” You forget that the woman onstage isn’t Barbra Streisand. The musical numbers include ‘60’s Broadway and ‘70’s Disco, including “No More Tears (Enough Is Enough)” which Streisand performed with Donna Summer.

Before doing some duets with Barbra, Sinatra gives us “I’ve Got The World On A String,” “Strangers In The Night,” “Come Fly With Me,” “My Way” and “That’s Life.” Then the duets begin. Both of them singing “It Was A Very Good Year” while a montage showed the early years of Sinatra’s life was powerful and poignant. While the montage continues, Owens sings “Memories.” The following duet of “The Way We Were” is also memorable.

In between their witty and comedic bantering, Streisand and Sinatra entertain us with “The Way You Were,” “They Can’t Take That Away From Me,” “All Of Me and “Witchcraft.” The show ends with some more beautiful duets: “I Love You,” “When Somebody Knows You,” “Happy Days Are Here Again (Get Happy”) and“Somewhere (There’s A Place For Us).” With the accompaniment of pianist Joey Singer, you can’t go wrong with “Barbra & Frank, The Concert That Never Was…” No matter what your age, If you’re a fan of this era – this is a show you won’t want to miss. With two strong personalities onstage, it shouldn’t come as any surprise when they argue about who will close the show. You will want to know. So, come on down to the Riviera and find out.

Comments Off

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.

Comments Off

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!”

Comments Off

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.

Comments Off

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.

Comments Off

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.

Comments Off

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.

Comments Off

• Barry Manilow: Music and Passion Las Vegas Tickets

by Erika Bayer-Polak

Who hasn’t sung Barry Manilow’s “Copacabana” at some point or another? Well, if you generally only sing the song in the shower or car because you’re too uncomfortable letting the general public, or certain loved ones, know your true fondness for the tune, imagine being able to sing it unabashedly with about 1,600 other people. Yes, it can be quite a feeling.

Manilow’s show, “Manilow: Music and Passion,” is more than a concert, it is a true Las Vegas show with dancing and sets and boas and all of those Las Vegas-themed props that come to mind. Considering many of Manilow’s hits have been somewhat mellow tunes, the show is surprisingly up-beat and energetic. While he still sings his universally known crooner melodies, such as, “Mandy,” “I Write the Songs” and “Can’t Smile Without You,” among others, he manages to keep the pace of the show lively.

It is also quite a sight to see the sexagenarian swivel and thrust his hips like he is conjuring Elvis’ spirit — yes, Elvis played the showroom numerous times — and as he does so, the audience who cross every point on the age spectrum react and respond enthusiastically.

An unusual aspect of the show is that throughout the concert Manilow receives standing ovations by a decent portion of the audience after each song, granted this may or may not occur during every show, but that is beside the point. The amount of gratitude and respect his audiences have for him is beyond the norm, but not out of line for a man who has had such a distinguished and lengthy musical career, and it probably helps that his voice is as strong as ever.

During the show Manilow, not surprisingly, covers most, if not all, of his major hits, but he also takes time to let his backup singers shine, which not all performers do, and this seems to say quite a bit for his character and ego. His backup singers are deserving of their time in the spotlight, they can dance and sing with the best; their performance during a medley of songs from the 1960s is terrific.

If you plan on seeing this show, of course it would help if you enjoy at least one of Manilow’s songs, it will give you something to look forward to, but even if you do not know of one of his song’s that you are fond of, chances are, you will still have a blast. It is hard to not get into his show, it is more than a concert and probably more fun than most people expect, even his die-hard fans, and that is a tough sell, but he manages.

• Barry Manilow: Music and Passion Las Vegas Tickets

Comments Off

• Bette Midler Showgirl Must Go On Las Vegas Tickets

by Mara M. Mannella

“I am, after all, the People’s Diva!” Yes she is, and it shows in The Showgirl Must Go On taking place at The Colosseum in Caesars Palace. Bette Midler takes the audience on a wild ride through her career, all beginning with her rocky arrival via tornado to the showroom. For 90 minutes the Divine Miss M captivates the audience with a stage presence that is the perfect mix of Vegas glitz and genuine emotion.

Set in a plush and spacious venue, there is plenty to admire before the show even begins. The stage is set for Bette with a large video image of a billboard featuring the star erected in what looks like a rural Las Vegas desert scene. Comfortable rows of seats consistently fill the theater with fans, which is also home to Elton John and Cher. Don’t miss the opportunity to capture the memory of your evening on film, provided by feather boa toting photographers that circle the theater pre-show. The lobby lights flash and people move to their seats. The diva is in the building and the show is about to begin.

After a windy entrance on to the stage, Bette Midler welcomes her fans from all walks of life in her signature saucy manner. The show is non-stop entertainment not just from the diva herself but the gorgeous ladies who accompany her on stage. The Caesar Salad Girls, which drive home the fact you are bearing witness to a true Vegas production, are a talented group of dancers. Showcasing their skills from a full-blown kickline to graceful ballerinas, these ladies are also mean with a motorized wheelchair as you’ll see!

Gone are the days of strictly glitter and feather headdresses, these showgirls offer all that and more. The stage is also shared by The Staggering Harlots, Divine Miss M’s trio of bad girls, which she informs the audience she found all in the same lineup! Entertaining the audience with their antics throughout the show they add a spice to the already spicy program Bette Midler provides. A talented orchestra seated on stage guides the show flawlessly as it transitions from big band to symphonic and back again. The production gains depth with the inspiring and heartfelt vocal performance the timeless star delivers. As the blockbuster hits are performed the songs seem to gain new perspective and meaning to the audience whether it’s your first time seeing Bette Midler or your 100th.

The Las Vegas strip seems to have struck gold by adding a performer like Bette Midler to their catalog. The show, while not appropriate for a young audience due to some colorful language, has a nicely balanced array of humor and raw talent. The high energy show can be seen 5 nights a week at The Colosseum with dates scheduled until 2010. According to the singer Caesars Palace gave her “an adjustable mortgage”. Bette Midler is an icon and her show in Las Vegas is a perfect fit.

• Bette Midler Showgirl Must Go On Las Vegas Tickets

Comments Off