Las Vegas or, 'The Great West Way'

Moving to Las Vegas from New York as I did in early 2005 was quite a culture shock. I moved here for a host of reasons, most of which aren't really of interest to anyone else. But one reason that really drove the move when it would otherwise falter, was that it would be an adventure — a new environment, a new climate (literally and figuratively), new people, and so on.

Thus, with the support of good friends, I did it and have pretty much loved every moment. Having seen my first Broadway show and gotten hooked at the age of five (actually, a City Center revival of Oklahoma!) I came west with the feeling that no entertainment could measure up to the entertainment of New York theater and if by theater you mean such as Sweeney Todd or The History Boys then, thus far, it hasn't. 

But Las Vegas is an endlessly fascinating, endlessly entertaining place. It is, first of all, accessible. As a New York suburban dweller, a trip to the City was always fun, but always a schlep. No more. The Strip is just minutes away by car. Valet parking at every hotel is a great boon to any commute and there is lots of stuff to do that doesn't cost a lot. Of course, there's lots of stuff to do that does cost a lot, but there's a range. You can pay $225 to see Céline Dion (I haven't) or go to any number of lounges in the city and see reasonably good entertainment for the price of a drink (I have).  

The shows familiar to New Yorkers that play here are often changed to suit local custom. Thus, with the exception of Mamma Mia!, which has been running full-length at Mandalay Bay since early 2003, nothing lasts longer than 90 minutes so audience members can get back to the casino. Even the new version of Phantom of the Opera —re-branded Phantom: The Las Vegas Experience — fits into that time frame with every musical number intact. Broadway musicals haven't fared well here. Chicago had a respectable run, but Hairspray closed right after Harvey left the cast.  Avenue Q, even shortened to 90 minutes closed after seven months. The pundits said it was "too New York." Hmmmm. Cats is visiting for a limited run and, in October, a production of The Producers will open at Paris Las Vegas. Guess we'll see if that's "too New York." In the meantime, we can say unequivocally that Tony Awards mean nothing to audiences in Las Vegas. Is that necessarily a bad thing, though? What does mean something here is Cirque du Soleil. The Canadian producers have five shows running in specially built theaters that cost tens of millions of dollars. The latest utilizes Beatles music and a sixth is planned with the music of Elvis setting the tone. Mystere, the fist Cirque show to take up permanent residence in Vegas is about to celebrate performance number 6,000.

So this is Las Vegas entertainment — it's large, it's small, it's lots of headliners, lots of lesser knowns. Many careers are just starting here and many ending. Superstars here may be completely unknown anywhere else. This city that implodes buildings as a spectator sport does cherish the "legacy" acts, the performers who were big until they went out of style. And, of course, those who keep reinventing themselves like Barry Manilow and Tom Jones. (In the interest of full disclosure, I must admit Sir Tom is my favorite and I found BroadwayWorld when I was sent Randy Rice's review of Tom at Mohegan Sun earlier this month). Anyway, Las Vegas is an exciting place to be. If there's any show you'd like reviewed or question answered, please ask. I cannot wait to share the excitement that is Las Vegas.

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