The Movable Buffet

Dispatches from Las Vegas
by Richard Abowitz

Category: Vegas Event

Fright Dome: Huge haunted houses at Circus Circus

October 30, 2009 | 11:47 am

Fright Dome hearse

I had not seen Jason Egan, owner and creator of Fright Dome, since interviewing him in 2005. Since then, there has been a slow transformation of Fright Dome from what was primarily a locals event to one that  increasingly includes tourists, Egan told me as we rode in a hearse to the attraction's entrance at the side of Circus Circus. We were led there by clowns with chainsaws. As the sage in Ministry once sang,   "Everyday is Halloween" for Egan. He doesn't seem to mind. "I used to get three months off, but now I am at work again by early November."

Around this time each year, Egan takes over a big chunk of Circus Circus with 160 actors, five haunted houses and 23 rides and attractions, and this year two of the haunted houses are dedicated to "Saw." Egan does not recommend this for anyone younger than 12, and as violent as the haunted houses appear, this is all put on with the sort of attention to customer safety required to operate in a casino environment.

The bad economy has not hurt his business. In fact, on Oct. 2 to 31, the days this year Fright Dome takes place, Egan hopes to set an attendance record by scaring more than 61,000 people. Not only that, the caliber of his scare crew has never been better, another odd consequence of the number of available people with show business experience and the recession. "You would not believe the quality of resumes we had to choose from for monsters," one representative of the event tells me. And Egan says more than 1,000 people turned up to apply for jobs. In past years, to keep the monsters coming night after night, Egan offered the actors a substantial bonus for perfect attendance. But this year he has managed to cut that bonus by two-thirds. These are good times to be in the horror business in Las Vegas.

Fright Dome continues through Halloween. Here are some more photos Sarah Gerke took, and I think she actually was scared, whereas I am told that I jumped in one of the "Saw" houses. But we are calling that sharp reflexes.

Fright Dome Saw 

Fright Dome clowns

Fright Dome pig heads 

Photo credit: Sarah Gerke


Event-packed Vegas weekend: Party like it's still 2006!

April 17, 2009 | 10:58 am

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Vegas needs tourists to come back and this weekend, for whatever reason, promises to be the most happening few days thus far in 2009. If you have the time and want some distraction, this is the weekend for a spontaneous Vegas vacation.

The biggest attractions are the debut shows for the Hard Rock's new Joint concert hall. Tonight the first show at the Joint is Vegas locals the Killers. Saturday is Avenged Sevenfold and then Sunday night Paul McCartney plays the venue, which has a maximum capacity of about 4,000.

On Saturday night, "Peepshow," the new topless production show at Planet Hollywood starring Mel B. and Kelly Monaco, holds its grand opening. I spent Friday at rehearsals for this show, and I profile one of the showgirls, a former "American Idol" contestant, in the current Las Vegas Weekly. You can read my review of the show on the Buffet on Monday.

Last but not least, this weekend seems the start of the dayclubbing pool season.  Dayclubbing has evolved over the last year or two as the resorts have attempted to get the nightclub crowd to their pools. So, dayclubbing features the sort of celebrity hosts who usually can be found at nightclubs, attached to a nightclub brand or some club sounding name, and instead of bottle/table service the pools are selling private cabanas. On Saturday at 2 p.m., you can go to the pool at Hard Rock for Rehab with guest Snoop Dogg, or you can go to the pool at MGM for Wet Republic with Lauren Conrad (pictured). Then a short time later, at 3:30 p.m., you can head over to the Venetian to Tao Beach, hosted by Mandy Moore.

Finally, on Sunday afternoon, back at Planet Hollywood, there is the taping of the Miss USA Pageant.  For the last couple of weeks, the contestants in their sashes have been a ubiquitous presence on the Strip promoting the event.

Do you think a weekend packed with events like these, combined with Vegas' lower room rates, is enough to bring back the tourists and stop the constant decline in visitor numbers? Much of this (dayclubbing, Paul McCartney in a relatively tiny venue, a new topless show with state-of-the-art production values) are the fulfillment of visions that date to 2006, the glory days of catering to the high-end tourist, with a special appeal to the young, rich and beautiful people of Los Angeles. Will it still do the trick in 2009? Or does Vegas need to work harder at putting together different kinds of bait to lure back the tourists?

Photo: Sarah Gerke


Toby Keith goes Vegas

April 7, 2009 | 10:29 am

BUFFET Wow, is Toby Keith going to be remembering his most recent Vegas trip.

At the ACM Awards at MGM this weekend, there was a widely reported obscenity-laced tirade against a reporter for the Tennessean who picked up and ran with a Rolling Stone article by actor Ethan Hawke alleging an argument among Keith, Kris Kristofferson and Willie Nelson in 2003. (I bet the world was really concerned about that feud before.)

But Keith's fun in Vegas began before the ACM Awards.  The Las Vegas Sun  offered a first-hand account of a Jack Daniels-inflected, so-late-at-night-it's-early-morning performance at the singer's namesake bar on the Strip before the awards show at which he also chose to illustrate his dependence on a certain expletive as a primary vehicle of his verbal expression.

In addition to originals, he offered a few cover tunes, including J. J. Cale's "Cocaine." True class.

Well, these things sometimes happen on a  Vegas jag. All you can do is go home and hope not too much damage follows you back there. I think Keith's fans will be OK with his behavior, and Kristofferson and Nelson fans will too. I doubt even Ethan Hawke fans will care one way or the other. Still, if the man had a little humor about himself, highlights could make for a fantastic Vegas-vacation YouTube post.

Photo: Ethan Miller / Getty Images


Siegfried & Roy return to Vegas stage

March 2, 2009 | 12:32 pm
Montecoresr Being tricked is part of the art of illusion. That is something unique about magic that does not so much apply to other arts. Is a trick ever a deception? This is the odd question floating around Siegfried & Roy's farewell performance Saturday at the Bellagio. At the end of the day, I consider this controversy not  important and sadly distracting, but it merits a look at anyway because of the light it shines on what expectations we bring into a performance.

On Saturday at Bellagio, if nothing else, I watched an incredibly moving piece of stagecraft. It was officially the farewell performance of Siegfried & Roy at a benefit for the Lou Ruvo Brain Institute. Mayor Oscar Goodman was on hand to call the night, with his usual hyperbole, "the most important night in Las Vegas history." In part, this had less to do with the performance than with the project being supported: bringing a first-rate medical center to Las Vegas (to be staffed by the Cleveland Clinic) and to be housed in a Frank Gehry-designed building.

So, here is what we in the audience saw during the roughly 10-minute performance. Two men appeared onstage covered head to toe in outfits and wearing masks. One had a pronounced limp and seemed physically frail, steadying himself on his partner occasionally. After some cabinet illusions, the performance ended with the masks coming off and Siegfried & Roy posing with a giant cat. Roy needed some help getting his mask off. It was a powerfully impressive, human and moving performance. But it was also a magic trick.

The way their show ended at Mirage offered so little hope that to see them on a Vegas stage again was an inspiring moment and had the entire audience on their feet. It was the one night I have spent in Vegas recently where no one talked about the economy.

We learned later that the cat used in the illusion was Montecore, the very animal whose savaging of Roy in front of a live audience had ended their show at Mirage so abruptly. Like many, I went home realizing our greatest novelists could not have written a more complete and fulfilling ending to Siegfried & Roy's story in Vegas.

Of course, you wake up in the morning and think, "How did they do that?" Why would they need masks for a performance where everyone knew it was them? Was that Roy the entire time with the limp or someone else playing off our expectations that Roy would be the person limping? And was that really Montecore? Norm Clarke has taken on those questions in his Review-Journal column today

I checked with Siegfried & Roy's publicist and was given this answer from their manager to my "yes" or "no" question: Was Roy onstage as the man with the limp in the costume throughout the entire performance:

“It was Siegfried & Roy all the way.”
 
This on the surface seems to be a yes, but I still detect wiggle room. I would have preferred a simple "Yes."  What possible reason can anyone come up with that Roy would be wearing a mask for 9 of his 10 final minutes on stage? After all, his limp would make hiding his identity impossible unless the limp was being used to suggest his identity? Roy could have waited to be substituted into the act at the end. But making you think you are seeing one person while looking at another is a basic strategy of stage magic.  The bottom line to me: I don't care when Roy appeared. Magic is about creating illusions that are otherwise impossible. The audience consents to be being tricked as part of what you expect from a magic performance. This is totally different, for example, than a singer mouthing in front of a dead mike while her voice plays through the PA. These entertainers created a storyline performance for 10 minutes that was far more emotional and with more nuance than anything that Siegfried & Roy were known to put on stage during their campy glory years. This illusion showed all the pain, agony and effort of trying to do the superhuman while being so very human, and the payoff was that moment of standing applause as an audience saw on stage Siegfried & Roy and Montecore.  Who was where when is details. Is it interesting how much of the performance contained Roy? Sure, if you are a magic technician.

But consider that this was an audience needing to be motivated to give to a charity fighting brain damage of the sort that often looks like it will require a miracle to make any progress.  The belief in anything being possible is an illusion, one necessary to any progress. Even the painful limp and frail demeanor showing the human effort behind even a miracle helped make Siegfried & Roy's goodbye performance the perfect entertainment foil for this night. And fighting the odds from being near dead on a hospital table less than six years ago to being able to participate in this performance was a powerful message about possibility that only Siegfried & Roy could deliver. So, when you are asking when the illusion ended and what the reality of the situation, you have already done what magicians want you to do: have you leaving the theater wondering, how did they do that?  (Courtesy photo)

Strippers and Hustlers hotter than Sean Hannity

August 19, 2008 |  3:00 pm
 
Heatherchadwell Aren't strippers known for being naked? Anyway, women are encouraged to dress like strippers and men like hustlers at the, duh, Strippers and Hustlers Ball taking place at the Orleans Arena over Labor Day weekend. This would be the same Orleans Arena that earlier this year hosted Fox News and radio conservative Sean Hannity's event. So I called over to the Orleans Arena to see what was more popular: Hannity or strippers and hustlers? Who do you think won? Come on, this is Vegas!

Hannity's event pulled in 3,200 people. Organizers of the Strippers and Hustlers Ball expect 30,000 people to come to Vegas for the two-night event, and that should easily fill to capacity (7,600 people) for two nights the Orleans Arena for the Strippers and Hustlers Ball.

And to think Hannity brought to Vegas Oliver North and Lee Greenwood, yet still more will turn out to see a room full of people dressed like strippers and hustlers with "celebrities" like Heather Chadwelll (pictured) from VH1's "Rock of Love" (yes, I had to look up where her 15 minutes was filed).
 
(Courtesy photo)

Bill Clinton's Vegas birthday dinner

August 19, 2008 |  2:23 pm

President Bill Clinton turns 62 today. And last night he was in Vegas celebrating. Yeah, there is a clean energy summit going on at UNLV that the former president addressed. But even the big name participants can't resist  the water wasting, electricity burning, carbon Bigfoot known as the Las Vegas Strip.

Last night, I am told, gathered for dinner at Craftsteak inside the MGM Grand were Sen. Harry Reid, T. Boone Pickens, Cher and Bill Clinton. I wonder who picked up the check?


Tiger Jam with Van Halen hits Mandalay Bay

April 15, 2008 | 11:20 am
 
Irvingazoff_portrait This year Van Halen headlines the annual charity concert Tiger Jam on Saturday night at Mandalay Bay.

Tickets are still available to see the rock legends who last did two packed shows in Vegas over New Year's weekend.

As is usually the case at Tiger Jam, Irving Azoff is the man at the center making the show happen.

If for no other reason than his decades of dedication to bringing Warren Zevon's music to the world, Irving Azoff would be on my short list of heroes.

Also, giving him a serious place on the honor role was Azoff's involvement in returning Steely Dan to the road and studio, culminating in their Grammy-winning masterpiece: "Two Against Nature." As an agent, label executive and manager, Azoff was a player in the music industry when there still was a music industry and he was running with the pack that included David Geffen and Mo Ostin.

And even as the music industry has disintegrated, Azoff has continued to keep his artists working and successful and giving back to the community. One example of this is Tiger Jam. This annual charity event hosted by Tiger Woods for his foundation and other causes hits Vegas every year with a big concert. This year Azoff landed Van Halen.

I was really so pleased at a chance to talk to Azoff, I discarded my elitist impulses and never asked him if he really liked REO Speedwagon or if that was just a money thing.

Anyway, the other reason I wanted to speak to Azoff is that in the past I have had a series of dull to uncomfortable interviews with Tiger Woods about Tiger Jam that proved that despite lending his name to a concert, the brilliant golfer is not particularly fluent with popular music. Woods told me his favorite song is "Eye of the Tiger," by Survivor. He likes the title, and he told me he likes the song because it is played a lot at his golf camp.

Azoff's history with Tiger Jam is much more focused on the music.

Richard Abowitz: How did you get involved in Tiger Jam?

Irving Azoff: Tiger Woods was good friends with Glenn Frey of the Eagles. And Glenn came to me and asked me to help Tiger. We did the first one, and Tiger and I became friends. Now, there is a group of us in the music industry who do what we can to help him with his event.

Richard Abowitz: I remember at one Tiger Jam a few years ago, Christina Aguilera performed. But there were a lot of rumors that she had just split with her manager before the show and hired you, and there was a lot of backstage stuff. Can you fill us in on what happened?

Irving Azoff: That bill had her, Seal and LeAnn Rimes. I met her just before that. I went to Denver the night before and met up with her. We flew together to Las Vegas and we had our first meal together at In 'N Out Burger and then we went to the Mandalay. It was a very traumatic time in her life. Her parents were there. The show was an odd combination and there was some LeAnn Rimes drama about who was going on first and who was using pyro and other crap. But it was fun. And I think that was the year a very drunk Charles Barkley challenged me to a game of golf. Tiger was going to place a large wager that I would beat Charles provided we went and played at once on that golf course down the Strip that was lighted. It was a very, very large wager, and luckily for Charles who was so drunk he was cross-eyed he chickened out at the last minute. Lucky for him, because we would have taken a lot of money.

Abowitz: Is there any back story you can tell us about Christina Aguilera's appearance in "Shine a Light" (the Rolling Stones film directed by Martin Scorsese)?

Azoff: A magical moment. You need to see it on the big screen. They filmed it on two days, but did not really rehearse it. The show was very spontaneous. The first day was good. But everything about it worked the second day. The way she interacted with Mick and the way she nailed the song. She may be the greatest female singer alive. It was a great event.

Abowitz: What is your favorite thing about Tiger Jam?

Azoff: Not to get serious, but it is all the great things he does with the money. A lot of it goes to a learning center that is a beautiful facility. The work that is done with this money is great. This event became fun for Tiger and now he is inspired to keep it going. But his father Earl was the guy who got it started.

Abowitz: Do you know how Tiger Jam became a Vegas institution?

Azoff: They took it there once and it never left. I think the corporate guys love to party in Vegas and Tiger and his buddies love Vegas. It becomes a rest point for everyone but especially the corporate guys who have long supported us. The event is wonderful at Mandalay Bay.

Abowitz: Do you have a favorite musical moment from past Tiger Jams?

Azoff: Musical moments usually involve interesting collaborations. And there haven't been a lot of those. But I don't really have favorite musical moments; I am too old. I just love to hang out with all those guys.

Vegas celebrates 'Love in the Time of Cholera'

November 7, 2007 |  8:22 am

Mikenewell_2 It is amazing the importance of region to celebrity. I usually notice this when the Quebec press comes en masse to Vegas for anything involving Celine Dion or Cirque. And the appearance of singer Shakira last night for a charity event connected to the premier of "Love in the Time of Cholera" also attracted a large international press group that usually doesn't make it to Vegas. 

But even packed on to the red carpet at the Palms, I was determined to have real talk about one of my favorite books with the people who had spent so much time thinking about Marquez and working on bringing "Love in the Time of Cholera" to the screen.

Of course, first I asked director Mike Newell if he was surprised that Vegas money was behind the filming of a highly ambitious literary novel by a Nobel Prize winner who writes in Spanish. "You bet your ass I am. It makes me laugh a lot," the director replied. Asked to elaborate, Newell joked: "They might break my legs; don't ask me."
On a more serious note, I asked him about the complexities of turning a book that contains a universe of language into a movie experience. "I was loyal as I could be to the book," Newell said. "But there are things in the book that are purely literary. The way a sentence is constructed is very private to Marquez. I tried to find an equivalent in the way we used the frames and the way we lit the film and how the action ran. I was very aware of the literary style. But it is impossible to replicate. There has to be an equivalent rather than a direct replication."
Actor Benjamin Bratt is one of the stars of the movie, playing Dr. Juvenal Urbino, whose wife is loved by another man for half a century. I was curious what he made of the novel's view of love. "Marquez's understanding of love is probably superior to most of theBenjaminbratt_2 rest of us, and that is why the novel is so good," Bratt said. "But the story in it he constructed is actually pretty familiar to anyone who goes to movies: It is a love triangle. It also has the familiar boy-meets-girl, boy-gets-girl, boy-loses-girl, boy-gets-girl. But in between the last two phases there is a 50-year span. I think Marquez is really masterful at naming and describing all the variations of love: romantic, patriarchal, maternal, familial. It is all in the book, and I think they all share similar things. Love can drive you to madness and create a sickness that seems to have no recovery, but it is a sickness you really can't live without."

Finally, things went nutty as Shakira started down the red carpet. Press and fans screaming in two languages. This was my third interview with Shakira, and every time I am impressed by her poise and articulateness.  In truth, whenever the pressures on young celebrities come up, I think of Shakira, who is not only a famous pop star but carries the burden of being something of a national icon to the people of Colombia. It is a role our local pop stars, celebrities and socialites never have to consider. If only Britney, Paris and Lindsay had half this woman's strength and sense. Anyway, Shakira, who performs on the soundtrack, also had a sharp and personal take on Marquez's masterpiece.Shakira_3
"The novel portrays, perhaps, one of the last great love stories of all time," she said. "Love is always full of patience. But the question is how long is a person willing to wait for love? In this century we live so fast and we live so quickly and we live in a world of immediate gratification that love sometimes gets put aside. So it is refreshing and appropriate for this moment of time to remember how love used to be when people had the time to wait and the will to transcend the obstacles of life itself. That is what I think is true love. I believe in that. I do have a Fermina Daza inside of me, somewhere."

(photos by Sarah Gerke)

Vegas premiere 'Love in the Time of Cholera'

November 6, 2007 | 11:37 am
In Los Angeles, movie premieres are common. Not so in Vegas. And, when they come here, the reason is usually to present movies filmed here or churned-out flicks meant for the masses.

But tonight, "Love in the Time of Cholera" has its exclusive premiere in Vegas. Full disclosure: The company that helped finance the movie, it turns out, as noted in The Las Vegas Sun today, is owned by the family that owns Las Vegas Weekly, where I am on staff. Still, short of giving me a huge raise, I can't think of a way I'd rather see money spent. 
I usually either preview something or write about the event. But I am very excited about what I am covering tonight. Just out of my teens, in 1988, I read the book "Love in the Time of Cholera" when it first came out in hardback.  I even learned the translator's name, I became so enraptured with the prose. I still know the opening from memory: "It was inevitable: the scent of bitter almonds always reminded him of the fate of unrequited love." If I got a word wrong, don't kill me.
And so I can't wait to see the premiere of the movie "Love in the Time of Cholera." If Vegas seems an odd setting for the premiere of such a film, well, it seems as natural to me as making my own home here.  But the Vegas angle of spectacle has not been neglected: At a charity event before the movie screening, Shakira will shake her hips to her songs on the soundtrack.

Literature in Vegas?

March 21, 2007 |  9:16 am
Literature comes to Vegas very rarely. Each week at Las Vegas Weekly, where I am on staff, we recommend the week's hot tickets and interesting events in Vegas.  I joked at our last editorial meeting that we should note that Jonathan Lethem's plane next week would be flying over Vegas as he travels between cities on yet another hipster author book tour not stopping in Vegas.
 
As for our local literary scene, well, Las Vegas literati have pride and lots of it. As for the talent.... In fact, back in 2003 I had the most outraged response I've ever received to a review I wrote in Weekly: an account of a reading by local poets. The dustup continued for weeks in letters-to-the-editor and such. Las Vegas Weekly's competitor, City Life (who employed some of the 'poets' as prose editors and prose freelancers), even labeled me one of the worst print journalists of the year for my critique of what they gingerly called  "well-meaning local poets."  I survived, of course, and to this day I stand by my view of the literary culture and poets of Vegas. I love a lot about this city; but there is no James Merrill in our midst.
 
Yet, briefly, at least, two major novelists will be appearing in Vegas this week: Tim O'Brien and Robert Stone will give a free reading together at 7 p.m. Thursday at UNLV's Barrick Museum Auditorium. I am planning to be there despite a fear of being swarmed and beaten by the local poets.
 

 



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Movable Buffet: Final entry |  November 4, 2009, 1:05 pm »
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