There’s only one Vegas “Strip”, but there are two parts to it - the “new” strip of luxury theme hotels, that stretches from the luxury Mandalay Bay at one end to the super-luxury Wynn at the other (with quite a few tackier ones in between), and then the old town that picks up at the Riviera, Sahara, Circus Circus and Stratosphere before clustering around Fremont Street. In six visits to Vegas, I have only headed to the Old Town once - and even then not for a show but just to see the place. All of the “big” shows are clustered in the new strip, which is why I’ve never strayed much beyond it.
But this is an ever-evolving environment, and the ante keeps getting upped. It was Siegfried and Roy who, in 1990, first established a new kind of permanent residency when they opened a sit-down show at the Mirage Hotel in a new purpose-built auditorium - a run only brought to an end in 2003 when Roy was mauled onstage by one of his tigers. By then, of course, the landscape of the Vegas show had changed forever; and if Siegfried and Roy had ushered it in, it was Cirque du Soleil who picked up and ran with it, opening their first resident show here, Mystere at Treasure Island (now re-branded TI), in 1993.
As Michael Crete, a set designer for Cirque, puts it in an entry in Wikipedia, Vegas had long been “influenced by Folies Bergeres, with the scarves, feather boas, etc. There was a European culture already in place, oddly enough, not an American one. The people who opened the door for something new were Siegfried and Roy. They were the first to move away from the Folies Bergere thing.”
Cirque du Soleil have since followed the still-running Mystere with five more resident shows, the latest of which, Criss Angel Believe, is currently in previews at the Luxor, and I saw last night. Intriguingly, it brings the revolution in Las Vegas entertainment ushered in by Siegfried and Roy full circle, since it is a star-driven magic and illusions show - quite unlike the circus-based acrobatic, aquatic and musical spectacles that Cirque have now trademarked. Three of them are amongst the theatre-going highlights of my life: I have seen ‘O’ (the water-based show, at the Bellagio) four times, Ka (the Robert Lepage directed futuristic spectacle) three times, and Love (the Beatles show) twice.
It is obviously too early to comment critically on what I saw last night, since the show is specifically in previews (and tickets are duly discounted 25%) and still in development. But it is fascinating to see Cirque exploring different avenues in their ongoing quest to create spectacular popular entertainments - and as usual they have not stinted on the creation of the physical environment in which to do so, creating a magnificent new theatre, with a traditional proscenium arch (but more decorated than usual). The show is reported to carry a budget of $100m, and its eponymous star has committed himself to doing it for the next decade.
I also saw a different kind of star power entirely last night: veteran comedienne Rita Rudner held an audience captive for an hour and twenty minutes with no magic or illusions, just the power of her own storytelling and vivid jokes, in a theatre at Harrah’s. This is an “old Vegas” sort of experience - with ancient ushers seating the audience in lounge banquettes - but her act is timeless as well as bang up-to-date in its exploration of the battle of the sexes and the state of marriage. And her stage chops were honed by Broadway: for nearly a decade between 1968 and 1977, she served her apprenticeship in such Broadway musicals as Promises Promises, Follies, The Magic Show, Mack and Mabel , So Long 174th street and Annie.
Don't forget Downtown, Mark. Which is real 'old-school' Vegas and quite separate to the Strip. The Golden Nugget (which does actually have a golden nugget) is well worth a visit.
It used to have a swimming pool with a shark tank in it (probably still does) and also played host to a show by UK pantomime company Qdos for a while.
There's also a museum of all the old Vegas neon signs nearby and the punters are completely different to the ones you find on the strip - more locals. The shows tend to me more traditional light-entsy.
It's all a bit more down-market and feels a little bit like Blackpool did before it completely lost the plot.
I don't know if it deserves it but the word of mouth on "Criss Angel Believe" is shockingly bad with newspaper articles covering angry customers asking for their money back. I noticed comments about it Allthatchat and had a good read because like people I am tempted to read about a supposid train wreck of a production.
There are lots of articles out there arguing points back and forth but the show seem to be saying that there is 15 minutes of complete filler with dancers that will be gone soon when the put major two illusions into the show... so why start previews with so much missing?
To be honest this is exactly the kind of show I love so will see it next time I get to Vegas which will be soon (and was almost this coming weekend!!).
Critics have been really bashing Believe, but Cirque du Soleil continues to maintain that Criss Angel's ticket sales are among the top selling shows they have.
The real question is long-term viability: Is Angel up to performing night after night for long stretches at a time (as opposed to spending a few months a year shooting a TV show in spurts). And... will the strong ticket sales last year in and year out.
Per downtown:
Given the current economy, the less expensive lodging combined with a true "old Vegas" feel (more like The Strip used to be 15-25 years ago) is drawing people in droves. Downtown is happening virtually ever day of the week now.
Ted Newkirk
Managing Editor
http://www.accessvegas.com