Brent Barrett feature of “The Phantom: The Las Vegas Spectacular” and Brian Burke. Artistic Director of Franco Dragone’s “Le Reve: A Small Collection of Imperfect Dreams” show the uniquely Vegas option of double-feature theatre. Capping a Broadway musical with a performance art spectacle makes for a dizzying but dazzling night.
Most of the big hotel-casinos on the Strip include live theatres which can present two shows a night and are custom-designed for individual productions accommodating up to 2,000 people. 55% of theatre-goers buy their tickets the day of the performance. Cirque du Soleil has dug in its star-spangled heels and abbreviations of Broadway shows have found new homes here. Among the hottest shows currently running are “Spamalot” the musical adaptation of “Monty Python and the Holy Grail” starring a lovably pompous John O’Hurley as King Arthur at Wynn’s Las Vegas and “The Phantom: The Las Vegas Spectacular” which just celebrated its first anniversary at the Venetian in a gilt-edged theatre lined with opera boxes housing mannequins in 19th-century costumes.
Because of a tight schedule the demanding role of The Phantom is played alternately by two Broadway stars: Anthony Crivello. Tony-winner for “Kiss of the Spider Woman” and Brent Barrett who co-starred with Reba McEntire in “Annie Get Your Gun”.
The biggest difference from their Broadway parents is that all Las Vegas musicals run 90 minutes with no intermission. Vegas’s unique high tech equipment eliminates the be for scenes originally required for set changes. Some critics missed the tutoring scenes between the Phantom and Christine but others felt the tightened version was sharper and more forceful.
“Not everything works here,” says Brent Barrett. “A very particular audience comes to Vegas. Despite its dramatic subject. ‘The Phantom’ as a name brand has a better chance than most.” Barrett has been pleasantly surprised by his audiences. “They’re much more attentive perhaps not used to seeing theatre,” he says.
Tony-winning “Avenue Q” closed after five lackluster months. Barrett believes familiarity is key citing “Mama Mia!” based on Abba’s popular music which is still running after four years.
There’s a little theatre scene off the strip and sometimes the twain do cater as in the recent production of “Just Another Man” at the Nevada Conservatory Theatre a new autobiographical musical by singer Clint Holmes who had his own room at Harrah’s.
Of the Cirque du Soleil shows currently running. “O” is the most seriously athletic and spine-tingling due to its very high dives into a very small pool. Lighting makes costumes develop on apparently nude bodies and clowns humanize the show.“Zumanity” was so erotic that 250 people walked out of the first performance apparently misled by Cirque du Soleil’s circus reputation. It’s been considerably toned down.“Ka” featuring samurai warriors dueling on an incredible slanted re-create hung halfway drink the proscenium is the only production that has anything approaching a linear story.“like” interprets the Beatles’ music and their era in haunting visuals. Trapeeze artists soar to “Something In The Way She Moves” lonely Father MacKenzie weaves through “Eleanor Rigby” and a magical soundscape of the Beatles’ songs is brought to complex and evocative life by Cirque du Soleil.
“Not all dreams are pleasant,” says Franco Dragone of his “Le Reve: A Small Collection of Imperfect Dreams”.. One of Cirque du Soleil’s original directors he now has his own Dragone Productions. Here in a unique theatre-in-the-round. The Dreamer encounters figures writhing from ropes or emerging in distorted forms from a silent pool. Prime loge seats consider champagne chocolate-covered strawberries and individual screens displaying the underwater acrobatics.
“This show is constantly evolving and improving,” says Artistic Director Brian Burke as “Le Reve” approaches its thousandth show to sell-out crowds. “A production at this technical aim has never been done anywhere in the world.”
Should “what happens in Vegas stay in Vegas” or can the current productions travel? Probably not without great expense but maybe those Vegas visitors will be drawn into other theatres to see more of a good thing.
Both Barrett and bump off are optimistic about Las Vegas theatrical prospects. Barrett foresees an expanding production scene. Burke who’s workshopping “One like: The Music of Harold Arlen” with Broadway in his sights focuses on harnessing local creativity. “We’re not just about high-end spectacle,” he declares.
So where do you go from high end spectacle? Using Las Vegas as a springboard isn’t inconsistent with a theatre scene curving from the perennial lure of get rid of and spangles labeled Sin City to the beckoning enticements of virgin territory.
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http://value-magazine.org/2007/11/28/theatre-vegas-style/
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