Displaying Reviews for BestOfVegas

"Crique's First Bona Fide Bomb"

From Joe Brown of the Las Vegas Sun

"No wonder.

That — among its many, more obvious failings — is the fatal flaw at the heart of “Criss Angel: Believe.”

There’s just no wonder in it.

In fact, there’s shockingly little magic to be seen in this much-anticipated Cirque du Soleil spectacle constructed around a celebrity magician. No shock, no awe, precious little surprise, even.

Cirque throws everything in its considerable arsenal of stage genius at Angel — the expected array of lush, loud music, expert dancers and aerialists, lavish settings and boundary-breaking special effects, all intended to amaze.

The single most amazing thing about “Believe” is that it’s still so boring.

For a reported $100 million, Cirque has bought itself its first bona fide bomb."
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"The incoherent evening is haunted by a recurring Magritte-like image of an empty gilded picture frame. And that, finally, is the truest metaphor for “Criss Angel: Believe”: a gorgeous golden structure surrounding a void."

The entire review

"A Money's-Worth Show"

A show review of "Donny & Marie" by the Las Vegas Sun's Joe Brown:

"Donny and Marie put on the charm

Is it too late to nominate Donny and Marie for President?

OK, then. But what about president of Las Vegas?

Think about it: America’s First Brother and Sister are running on a pro-lively, antidepressant, universally entertaining platform. They’re pretty much scandal-free. We’ve all seen them grow up on television. They work the stage and screen like lifelong politicians, and no one alive — not even Bill Clinton — can grin, wave, point, wink and make eye contact like they can.

The toothsome twosome surely smile even while sleeping.

They’re installed for a six-month run at the Flamingo, but they could easily reign for four years — and be reelected by a landslide for another term.

The 90-minute show — it’s simply called “Donny & Marie,” because that’s exactly what it is — revives and revitalizes the idea of the classic performer-based Vegas revue.

Sure, there are eight energetic dancers, a nine-piece band with horns, light-up staircases, video montages and all the now-expected stuff on the showroom stage. But every effect serves solely to enhance the endearing and enduring duo.

It’s a money’s-worth show: The stars (he’s 50, she’s 48) look great, sound swell, and in the Flamingo’s human-scaled showroom you’re guaranteed a good look at them wherever you sit — if you’re seated anywhere near the sage, you’re more than likely to be able to touch them."

Read the Entire Review

"Good at What it Does"

Review by Mike Weatherford of the Las Vegas Review-Journal

"Campy Cabaret: 'Menopause The Musical' good at what it does
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Four women meet fighting over sale bras at Bloomingdale's, setting up a day of support and sisterhood in various departments of the store. The four are such archetypes they don't even need names. Along with the Soap Star -- who reads in the gossip columns she's about to be retired -- there's the pantsuited Professional Woman (Susan Beubian), the Birkenstock Earth Mother (Cheryl Spencer) and the Lucy-meets-Edith Bunker Iowa Housewife (Laura Lee O'Connell at this performance, but now out in a road company. Annette Houlihan Verdolino is now in the part).

The songs are familiar even if the lyrics aren't. Writer/producer Jeanie Linders goes for MAD magazine song parody using baby boomer classics. "Chain of Fools" becomes "Change of Life." "Stayin' Alive" becomes "Stayin' Awake" and "Night Fever" is "Night Sweatin'."
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The consolidated cast of Broadway veterans does manage to keep the silliness grounded, and at times inject just a wee touch of reality. But reality isn't the goal. Affirmation is."

Check out the Complete Review

"Janet Jackson Jumped the Shark and Then Some"

Review from Jason Braclin of the Las Vegas Review-Journal

"Jackson concert goes to extremes

Some things are ridiculous in a bad way: last call, Michael Bay flicks, pierced foreheads, the 40-hour work week.

Some things are ridiculous in a good way: cheese in a can, the Coen brothers, Mexican soap operas, the yard o' beer.

And then there's that rarified stratum of the awesomely preposterous, solely occupied by chicks in skintight, gold-lamé bodysuits with gigantic Mohawk manes that look like the spoils from a scalped Mr. Ed.

Enter Janet Jackson.

Exit prudence.

And good riddance, by the way.

At the Mandalay Bay Events Center on Friday for a stop on her "Rock Witchu Tour," her first in seven years, Jackson didn't just jump the shark; she pole-vaulted over the thing and then thumbed her nose at it from on high.

"Obey me," she growled during a pretaped video interlude that played on a huge projection screen behind the stage early in the show. With black lipstick, snarling at the camera, this was the "Bad Janet."

Or something.

Shortly thereafter, we saw her face bathed in white light, awash with celestial radiance.

This was the "Good Janet," we presume.

What followed was a musical parable on the eternal struggle between the forces of evil and righteousness."

Read the entire Janet Jackson Review

"Trying Out New Segments"

From Mike Weatherford of the Las Vegas Review-Journal:

"Testing the Waters: Ventriloquist Terry Fator trying out new segments during run-up to Mirage debut

Terry Fator's got talent, and America loves him. There's no arguing that.

Does he have an act that will sustain that adoration for five whole years? Time will tell. But there's no raining on his parade right now.

The ventriloquist, who hit the jackpot on "America's Got Talent" last year, tells his packed house at the Las Vegas Hilton that he will stay after the show to meet them. The line forms three or four people wide, and runs more than 60 yards back, from Fator's post near the showroom doors to the Shimmer Cabaret and beyond.

Whoever wins the third season of "Got Talent" on Oct. 1 will have eyes full of dollar signs after Fator rocketed from state fairs to a five-year deal at The Mirage, touted to be worth $100 million. (Tickets aren't yet on sale for shows starting Feb. 9, but capacity houses at $100 per ticket would generate more than $30 million per year).

But the new winner will have to match Fator in the likability department to pull in that kind of lettuce. Something about his smile and stage presence stands apart from the ventriloquism. People warm to him from the moment he starts telling his Las Vegas Hilton audience about the kids who used to call him "Ferry Tator," and what would those kids say now?

Fator is using his year of monthly dates at the Hilton -- he returns Monday through Wednesday -- to test new segments in a run-up to his Mirage debut. It's perfectly understandable that much of his old material didn't make the leap to hyperspace along with his career, and just as understandable that he would try to punch up the act before February..."

Complete Terry Fator Review

"Campy and Over-The Top"

Review by Mike Weatherford of the Las Vegas Review-Journal:

"Staying in Character: 'Bite' embraces its outrageous premise -- fangs and all

There's boring bad and there's brilliant bad. Even when you're talking topless vampires, as in "Bite," they couldn't shake their groove fangs all of four years without a spark of warped genius.

Here's one way to explain it. Some other topless vampire show might decide to include "Nessun Dorma." But has anyone ever had Puccini's famous aria lead right into "Stairway to Heaven"?

Not even Michael Bolton thought of that one.

This is what separates "Bite," and its creator/producer Tim Molyneux, from your standard-issue girlie shows. Since "Bite" debuted on Aug. 13, 2004, the Strip has become ever-more hifalutin, shoveling dirt over hoot fests such as "Splash." Even rival topless revues, such as "Fantasy" and Crazy Horse Paris, now strive to be artsy and ambitious.

Pickings are slim for those who still search the Strip for something camp and over the top, though Donny & Marie bring hope just over the horizon. There's "Jubilee," but it held on long enough to turn the corner from dated to retro. There's Cher or "An Evening at La Cage," but they're in on the joke.

The beauty of "Bite" is that you aren't sure if they are or not. The revue embraces its outrageous premise without a bunch of self-aware jokes.
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When I see vampire babes climbing out the lid of a grand piano, I remember an old argument offered, I believe, in defense of warped poverty-row filmmaker Ed Wood: "The only bad movie is a boring one."

And of "Bite," it's safe to say many shows on the Strip are boring by comparison."

The Complete Bite Review

"a simple affair in need of a headliner but Krave is cool"

Review by Mike Weatherford of the Las Vegas Review-Journal

"A Modest Showing: Motown revue 'Hitzville' a simple affair in need of a headliner

I wish I could quit the Krave.

Sure, I try to dismiss the misbegotten place, officially known as the Harmon Theater when it's hosting ticketed shows, but arguably more familiar by the gay club name it assumes in the late-night hours.

The body count of failed shows there have a common link, or lack of one. The club doesn't connect to the Miracle Mile Shops at Planet Hollywood; you can only get to it from outside. By the usual laws of Vegas, it should have been bulldozed by now to make way for some new grand idea.

Except for one thing. Once you're inside, there's nothing quite like this setup anywhere else in town. The room can affect a classy supper club vibe that elevates an effort such as "Hitzville -- The Show."

Producer Bill Shack remembers and re-creates the room's first incarnation as the Blue Note jazz club. "Hitzville" patrons sit down to tablecloths and candles and help themselves to a buffet of Southern soul food by chef Jon Landry. It sets a great tone for the Motown revue, which wouldn't work nearly as well playing to rows of theater seats.

And "Hitzville" needs all the help it can get. Not that it's a bad show. It's just a modest one, lacking a name headliner on a Strip loaded with over-the-top competition.

The revue also molded to its surroundings last year in the Hilton's Shimmer Cabaret, playing as a no-rush 110-minute lounge revue. It now has tightened to a more urgent 80 minutes, and is all the stronger for losing the idle chatter.

It's still a simple affair, alternating between the four-man group Fair Play and three women fronted by top-billed belter Jin Jin Reeves. She's a powerhouse, they're smoothly casual and they make for good contrast trading off in front of a five-piece band."
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Read complete review
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Review by Jerry Fink of the Las Vegas Sun

‘Hitzville — The Show’
The Energy is High and the Fun Nonstop
“Hitzville” is a Motown revue loaded with talent led by Jin-Jin Reeves. This production at the Harmon Theater (inside Krave, next to Planet Hollywood) features covers of some of Motown’s most popular recording artists from years past.

The show may be leading the pack because several parties have indicated an interest in bringing Motown to Vegas, including Sidney Barnes, who recently moved to town and has a lot of connections with Motown alumni.

But “Hitzville” is here and seems ready for a long run at Krave. You may have seen the production at the Hilton this year, when it had a limited run before going on tour.

It’s a flawless production with Reeves as the centerpiece. Reeves, a Detroit native who lives in Henderson, covers such superstars as Gladys Knight (“Midnight Train to Georgia”), Aretha Franklin (“Natural Woman”) and Tina Turner (“Proud Mary,” a show stopper).

But she doesn’t overpower the group Fair Play, which performs the Four Tops (“Bernadette,” “I Can’t Help Myself”), the Drifters (“Up on the Roof,” “Under the Boardwalk”) and the Temptations (“My Girl”). The group includes Daniel Mitchell, Larry “Red” Williams, Freddie Eckstine and Ron Stevenson.

The scenes flow smoothly, alternating between Reeves and her backup singers and Fair Play. With a five-piece band backing up the singing, this is a big show in a comfortable showroom where the energy is high and the fun nonstop.

You can enjoy a Southern-themed buffet at the same time — fried chicken, collard greens and pulled pork, among other items prepared by chef Jon Landry.

When you leave the theater your heart — and stomach — will be full.

Details: “Hitzville — The Show”; 7 p.m. Wednesdays through Sundays, buffet seating at 6:30 p.m.; Harmon Theater in Krave, Planet Hollywood; $30 general admission; $54.95 and $65.95 with buffet; 836-0836

"A Trip Through Time"

From Mike Weatherford, Las Vegas Review-Journal

"Staying Power: Long-running 'Evening at La Cage' still offers a trip back through time
It's remarkable enough that "An Evening at La Cage" is now the fourth longest-lasting show on the Strip. But more amazing is the lack of turnover, and how long some of the performers have been putting on the makeup and gowns.

Sure, the big illusion is men in drag, just as it was when the show opened at the Riviera in 1985.

But now, anyone who has been around a few years can be just as intrigued by the time-travel effect of the whole thing. In a city where so much geography has changed, here's one journey to the past you can still take.

The trip begins as you make your way through the Riviera, all aglow with mirrors and chandeliers and old-school signs such as "Barber Salon."

You find your way to a zebra-striped booth for the tributes to everyone from Diana to Dolly, divas who are mostly as ageless as the performers lip-syncing to their hits.

Bette Midler and Cher had big comebacks this year at Caesars Palace, but at "La Cage" they've never gone anywhere. Michael Jackson's career isn't tarnished either, because here it remains locked in the "Thriller" era. (Yes, it defies the concept to have Lane Lassiter doing a Jacko tribute in a female impersonator show, but that's the way it is and the way it's always been).

The longevity of host Frank Marino -- who has been there almost all of the 23 years -- and some of his co-stars completes the illusion."

Weatherford gave the show a B-. For the entire review, Click Here

"Balls-Out Yet Practical"

From Thrillist:

Even in Vegas, life's about balance -- maybe you'll eat your weight in buffet shrimp, but you'll also appreciate the thoughtfulness of your pillow mint. For a nightclub with that same focus, hit Rok Vegas.

A Tommy Lee venture stashed in the New York, New York casino, Rok's a neon-pulsating indoor/outdoor rocker's den that balances balls-out multi-sensory overload with the sort of practical amenities that can put a smile even on the most practical-amenity-obsessed of faces. On the balls side's a central dance floor concentrically ringed with reservable tables, VIP booths, and a unique-to-the-club mindblowing 360-degree video screen synced to mashup DJ/VJ; outside, the street-level patio sports its own DJ and is close enough to the Strip that you could almost get a DUI. As for thoughtful touches, unisex bathrooms mean futile attempts at conversation won't have to be broken off just to pee; meanwhile, booths come with lady-friendly dance platforms (to keep the wild ones from disappearing into the throng), mechanically chilled sunken drink holders, and banquette seating with stowaway compartments, so ladies can hide their purses, and you can hide from Stormtroopers.

Rok's also the first club in town to offer half-bottle service, because balance can come down to the exact volumetric compromise between stupidly getting a bottle, and cravenly not.

"Not So Great"

An early review of LAVO from "Blair B" who attended the 8/23 soft opening:

"Lavo is the new nightclub/restaurant located in the Palazzo from the creators of Tao. It opens officially next weekend, but there appeared to be some form of a soft opening this weekend.

Restaurant: They are trying to be some sort of mediterranean fusion tapas place. All dishes are small and pricey ($7 for a slider, $15ish for a small tapas sized sih), and they don't offer any entree sized portions. We tried the kobe burger, fries, twice baked chicken, and a breaded veal dish. All were good, and the standout was the veal dish. Nothing was spectactular. Drinks were tasty and cost $12 each. Atmosphere seemed trendy, but contrived like everything in vegas! Servers in the main part were dressed like crap in jeans and tennis shoes but perhaps this was for the soft opening? We ate in the lounge part and the cocktail watiresses were hot and well dressed.

Nightclub: Even though they weren't even open yet officially and obviously weren't packed, they still made us go through the ridiculous fanfare of going through 6 bouncer checkpoints to get into the club. One guy told us "You're lucky you came now when it's easy to get into... once we start advertising this place is going to get REALLY exclusive!" Ok, ouch, so I'm that ugly that I'm not going to be able to get in once this place gets "cool".. mmmk whatever. Also they made my bf tuck in his button down shirt which I thought was weird.

Anyways, once we got into the nightclub I really didn't feel that impressed. I think Tryst is way better. Although the dancefloors seem to be similar sized, at Tryst you can dance all over the place.. this place was small and cramped outside the dance floor, so I think once this place fills up more the dance floor will get too full. The rest of the place is all VIP/bar area. The bar area was cramped and you definitely had no room to dance if you were standing anywhere but the dance floor. Seemed like it could get annoying.

Ok another issue I had.. so the theme is bathhouse. Kind of a fun/cool theme. HOWEVER they sucked at the decor. It's all black pretty much. There's a bizarre pseudo-sexual ugly painting in the back. There's towel rack handles on the wall in a weird pattern. At Tao they have all these cool bathtubs everywhere but then they build a place called a freaking bathhouse and have no such decor.. it's really odd. I mean the place was pretty and everything, I just wasn't blown away. Also, there's no outdoor part in the club part. There is a patio in the restaurant (however no service out there!), but once you get into the club there is no stepping outside.

Last but not least.. the music. Again, Tryst wins out. They played a lot of "old" songs, but not fun 70's/80's songs.. songs that were just well old. Like Nelly's "ride with me" or Gin and Juice by Snoop. Just lots of songs that are very "tired" but not classics if that makes sense. Either play trendy cool music, or play me some Bon Jovi.. none of this cool 10 years ago crap. Tryst had a nice mix of songs of the moment and 80's stuff. This DJ needs help.

Oh and one last complaint. So the line for this place is OUTSIDE. Yes, it is August and they are going to make you wait outside. We only waited 5 minutes due to the aforementioned emptiness, but if this place ever becomes cool and actually gets a line I would hate waiting outside for an hour + in extreme heat or even the "extreme" cold of the Vegas winter. EIther way , waiting outside blows and that was poor planning on their part."

"Blue Man Group still packs punch"

From Mike Weatherford, Las Vegas Review-Journal:

"Blue Streak: Blue Man Group still packs punch with show that shocks the senses

This turned out to be one summer when we all could use a sure thing.
The Blue Man Group is happy to be that thing.
In July, the durable show amped up from nine to a recession-defying 14 shows each week: two per day, seven days per week.

The Venetian balcony appeared to be out of action on a recent night, but the main floor of the 1,760-seat theater was crowded with ticket holders crafting strands of crepe paper into Rambo headbands. Blue Man has been on the Strip since 2000, and people are excited to be part of the community for a show that celebrates, among other things, community.

They all do the same things, though: Spatter neon-hued paint from drum heads. Catch 18 or so marshmallows by mouth and then spit them up for a modern-art masterpiece. Crunch that Cap'n at sound levels pumped to movie-surround volume.

A Blue Man is both an innocent and a prankster. He's wide-eyed, but his curiosity can plunge the whole theater into sudden darkness, or jam a camera to your mouth to see what you look like inside."
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Complete Review

"Making It Look Easy"

From Mike Weatherford of the Las Vegas Review-Journal

"With Wayne Brady, it seems not a matter of "if" but "when."

If you figure Las Vegas always will have room for at least one old-school headliner, Brady is the logical guy. He has an appreciation for classic Las Vegas showmanship and talent to match or surpass the present keepers of the flame.

Because of the unavoidable comparison that comes from sharing comic impressionist Gordie Brown's stage and set, it's impossible not to notice how easy Brady makes it look compared to Brown's labored comedy. And he already enjoys a celebrity that lets him skip straight past all the time it took Brown or Danny Gans to build name recognition.
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"This is one of those old-time variety shows," Brady proclaims at the beginning, hoofing it amid four dancers to a Vegas-y cover of the Gnarls Barkley hit "Crazy." It launches the show with the right retro-tinged tone, and still manages to deliver a punch line to a joke set up by a pre-show video.

The bulk of the set is still in the hands of Brady and comic sidekick Jonathan Mangum. The two have worked together since they were no-names in the early '90s, and because of their experience playing off one another, there's really no end to the improv formats, or "games," they can throw themselves into."

The complete review

"The Cheriest Cher Show of All"

From Mike Weatherford of the Las Vegas Review-Journal

"Do we really need to talk about this?

After all, you've had 40 years to decide what you think about Cher.

Is her throwaway singing a casually confident, relatable kind of cool? The very definition of pop as accessible, sing-to-the-radio commonality?

Or is that throaty voice monotonous and unengaging, devoid of emotion and unwilling to bend for the song?

What about the fashion parade of outrageous costumes: The ultimate statement in fabulosity? Or just plain silly after a while?

You really, really ought to have some opinions along these lines, if you've considered plunking down a C-note for the nosebleed seats, or $255 for the primo ones at the Colosseum at Caesars Palace. This is a tough ticket to score, not an impulse buy. But journalism gigs are getting hard to come by and I need to earn my keep. So let's start with this:

Cher hasn't changed one way or the other. But the new Cher show is the Cheriest Cher show of them all."

Entire Cher Review

"Downtown's Little Secret"

Review by Rachel M. Sugay of Today in Las Vegas magazine

"Downtown's Little Secret
Tucked away downtown is Bistro Divino, which can best be described as a charming, neighborhood restaurant, reminiscent of those you can find in New York or San Francisco. Located in the uber-hip Holsum Design Center, which is home to specialty furniture and art shops, as well as offices, artists studios, galleries and showrooms, this eight-month pizzeria and wine bar took over what was The Grill on Charleston. And what a changeover.

The interiors are true to the Italian theme – the walls are done in Venetian plaster in a light shade of forest green, and numerous vintage liquor ad prints adorn the walls. This is not your run-of-the-mill pizza joint – there are no red-and-white checkered tablecloths, jars of parmesan cheese, or deep-dish pizzas in sight. Manager Megan Bass explains, “The owners were just so in love with Italy, that they wanted to bring back a piece of Italy to Vegas. That’s why all ingredients are imported from Italy. From the deli meats, down to the flour used to make pizza dough and pastas.”
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All in all, this is one of the city’s best offerings to the dining scene. It may be a little off the beaten path, but it’s well worth the effort. Parking’s a breeze, no walking through several storeys to get to your destination; the ambience is charming and the antithesis of the bright lights and thematic restaurants on the Strip; it’s child-friendly (it’s the rare child that will refuse pizza or pasta) and most important of all, the food is out of this world – fresh, made-from-scratch with the best ingredients possible. Now this is eating good in the neighborhood."

Read Entire Review

"Big Cats Still the Draw"

(From Mike Weatherford of the Las Vegas Review-Journal)

SHOW REVIEW: 'Xtreme Magic starring Dirk Arthur'

"Animal Attraction: Big cats still the draw at Dirk Arthur show

Dirk Arthur still might not be the top cat in magic, but his tigers are now the big dogs on the Strip.

For years, Arthur's show came off as imitation Siegfried & Roy. In fact, he even played second fiddle to the S&R Lite of Rick Thomas in the school of magic that showcases giant hairballs as co-stars.

But Arthur held tight and his "Xtreme Magic" has, by default, become the only place to see the exotic tigers once synonymous with "Vegas-style magic." The matinee ticket prices were a fair deal even when the duo was at The Mirage.

Arthur carries on the Barnum-esque traditions of the German showmen, touting white tigers as an "endangered species" rather than the product of selective breeding. He even walks a "liger" (mutant offspring of tiger and lion) across the stage.

What, no "tigons"?

In his three years at the Tropicana, Arthur has learned to play these "oohs" and "aahs" and doesn't try to compete with Lance Burton in the personality department. He's the ringmaster of a fast hour that bombards audiences with everything from a helicopter to a 400-pound tiger, but not a lot of idle chit-chat.
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He fares a little better when he pulls a young lad to the stage and supplies the "stunt hands" to help him with some sleight of hand. Lance Burton does this type of thing better, but magic -- and this brand of magic in particular -- is the primary exception to the show business adage that you steer clear of kids and critters. With Arthur, any and all help is welcome."

Read entire review

"Gimmick-free 'X Burlesque' doing just fine "

(From Mike Weatherford, Las Vegas Review-Journal)

SHOW REVIEW: 'X Burlesque'

"Baring It All: Gimmick-free 'X Burlesque' doing just fine

You'd think a topless show would be the safest bet on the Las Vegas Strip.

But even with a head start -- four years of operating in different places with various titles -- "X Burlesque" has found it's not easy being the fifth or sixth of anything. Not even when you're selling bare bodies, one of the city's most valued commodities.

When the revue moved into the Flamingo Las Vegas early last year, it had to fight for attention. "Crazy Girls" has longevity. "Bite" has a gimmick (vampire babes!). "Crazy Horse Paris" has European prestige. "Fantasy" has live singing and (gasp!) a dude or two to enhance the couples appeal.

Perhaps understandably, "X Burlesque" seemed as though it was working too hard to be hip and edgy. But producers Angela and Matt Stabile kept tinkering and reworking their revue as it turned the corner on its first year in February.

"X" is now the one topless revue you can see seriously late at night: midnight, three times per week.

"X" still doesn't have that easy way of explaining where it fits. But that's a challenge for the marketing folks, not one that burdens audiences once they're in the room. Angela Stabile may sum it up best when she says the goal is to be "super sexy but also really fun at the same time."

I don't know if "credible" is too serious a word for a topless show, but it's easier to praise "X" for what it's not: seedy, derivative or overly silly.

The changes all have been for the better. A burlesque-looking curtain now covers the stage's roommate set for The Second City comedy troupe, but still creates a screen for video projections. New choreography is by Enrique Lugo, who did some audacious work for the departed "Fashionistas," and here keeps the seven women moving with rock 'n' roll athleticism that doesn't sacrifice the provocative for artsy indulgence (the same cannot always be said of the projected graphics).
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The things that haven't changed are most of what made the original "X" stand out when it debuted at the Aladdin in 2002. The women keep their own hairstyles and individuality, and each is featured in a solo number. The music is fresh, and most pieces don't bother you with the entire song. A girls 'n' guns tribute to the military without corny music? It boggles the mind.

A couple of numbers now qualify as classics: a bathtub seduction paced by stage blackouts and a piece where you see only three pairs of legs and not the rest of their owners.

"X Burlesque" doesn't reinvent the wheel, or even the girlie show. But for a show without a gimmick, it's doing just fine."

The entire review

"Piles on Insults"

(From the Las Vegas Sun)

Comedian piles on the insults for his shows at Hooters
by Jerry Fink

"Saber-tongued comedian Bobby Slayton hasn’t mellowed in the year he has headlined at Hooters’ Night Owl Showroom.

He still rants and raves and paces. He still spits out a machine-gun staccato so fast he’s able to cram two hours of material into an hour.

Check your politically correct sensibilities at the door because Slayton takes no prisoners in his tirades against young and old, Jews (he’s Jewish), blacks, East Indians, Chinese, Muslims.

“Muslims — you don’t smoke, you don’t drink, you don’t (have sex), you don’t gamble,” he fumes. “What are you doing in Las Vegas?”

Slayton is a heat-seeking missile whose radar targets members of the audience and then blows them away with his caustic wit. Take the man in Vegas celebrating his 21st birthday with his girlfriend.

“What do you do for foreplay, homework?”

Then he wastes the entire front row — most of them members of the Colorado family helping the 21-year-old celebrate. Mother, father, sister, brother. All gunned down.

Slayton begins his routine with riffs on his own wife and daughter — one suffering from menopause, the other from her menstrual cycle.

“One you can’t live with five days out of the month, the other you can only live with five days out of the month,” he says in his raspy voice. “I can’t help. I just pay for stuff.”

There is no linear direction to Slayton’s routine. His takes an ADD approach to comedy. His tangents go off on tangents.

After he has the room rocking with laughter for 30 minutes, he says he’s going to get into his act — but then someone in the audience catches his attention and he’s off in another direction.

Slayton’s warm-up, Robert DeShaine, moves in extreme slow motion compared with Slayton but lays the proper foundation for the star of the show.

“I’m bitter. I’m angry,” DeShaine says. “I didn’t expect to live this long.”

He takes on noisy neighbors, serial killers, divorce and differences between the sexes.

“Women, on average, use 7,000 words a day,” he says. “Men, an average of 2,000 — and most of those are ‘uh-huh.’ ”"

"A Big Gamble"

From Valli Herman, writer for the L.A. Times:

Excerpts from "New Las Vegas luxury hotel has Trump written all over it"

"Viewed from the side, the tower looks like a giant upside-down T, one that Trump crowned with his name in lights. With 1,282 rooms, it's not the largest hotel in Vegas, but it may be the biggest gamble.

Tranquillity isn't usually what brings the big-spending throngs to Vegas, but this no-smoking hotel is a serene oasis apart from the action on the Strip. The building sits alone behind a dusty vacant lot where the New Frontier hotel once stood and where a second tower may someday be built. To leave the hotel, guests must travel by car, traverse a rocky path without sidewalks and street lights or navigate through Nordstrom, which offers the nearest entrance to Fashion Show Mall across the street.

With the Wynn and the Palazzo as its luxury hotel neighbors, the Trump helps form a new Golden Triangle at the increasingly upscale northern end of the Strip. He's dressed the building to fit in with its rich friends - in 24-karat-gold glass, we're told. He should have spent more on sound insulation: Sirens, freeway noise and train whistles came right into my 46th-floor room, loudly enough to wake me."
........
The studios, one-bedroom and penthouse suites, from 515 to 3,500 square feet, are outfitted with golden-hued, contemporary decor and brand-name kitchens. My studio came with a compact Sub-Zero refrigerator, a two-burner Wolf stove and enough tools and appliances to make breakfast or mix cocktails but not a full meal.

Rack rates for studios begin at $349, and penthouses top out at $5,000."
..........

"During my mid-May visit, about 10 percent of the units were functioning as hotel rooms, while the rest remained unsold or were private condos.

The low occupancy should have meant abundant, swift service. Yet in two days, housekeeping failed to clean the room or perform the promised turn-down service, even after I complained."

The Entire Review

"Not Sure What It Wants To Be"

SHOW REVIEW: 'The Soprano's Last Supper'
Mike Weatherford, Las Vegas Review-Journal

"The Soprano's Last Supper" tried to ride the show's popularity with a spoofy twist of the interactive, "Tony 'n' Tina's Wedding" variety. It opened two years ago but found it hard to assert itself in two obscure venues, Krave nightclub and the Empire Ballroom.

The spoof finally landed more on the beaten path in February, shoe-horned into the comedy club as an early-evening attraction.
_

"The Soprano's" (the strategic comma is part of a legal truce with HBO) isn't sure what it wants to be. It starts out more like a play, but devolves over the next 90 minutes.

Losing the natural order of a dinner show -- dinner is now an add-on option in a separate restaurant -- creates a conflicting agenda. Attempts to sustain the "Sopranos" parody are undermined by frequent song and dance breaks, the characters pulling up audience members to shake it with a live trio and preserve the interactive element.

The scripted portions have become tighter and more to a purpose since the Krave days, but the room's poor acoustics and primitive public-address system result in many a punch line getting lost or trampled. And the character spoofs lapse into "dese" and "dose" gangster cliches of the Mugsy and Bugsy variety. It's like spoofing "Lost" with "Gilligan's Island" jokes."

Read complete review of 'The Soprano's Last Supper'

"Goodtime Vibe, Cheap Drinks with Liberal Pour!"

Fun Hog Ranch
From Mike Prevatt of CityLife Magazine:

"The mid-size drinkery, located adjacent the least-gay stretch of Paradise Road, is the first Las Vegas gay bar truly befitting a town nicknamed Sin City because it sheds the usual inhibitions. But it's far more charming than that. Not for nothing has it quickly become the favorite queer watering hole of some locals -- including this one -- while impressing some non-queers, too. Credit its goodtime vibe, welcoming staff, friendly and down-to-earth patrons of all ages and creeds, ridiculously cheap drink prices and, perhaps most of all, its consistently liberal pour."

"The homo ephemera on the wooden walls isn't in your face like at most queer watering holes. The diverse crowd ensures that the Internet jukebox isn't always playing diva house; it's refreshing to hear guitar in a Las Vegas gay establishment (though don't go expecting Silver Lake or the East Village). It actually draws more of the regular-Joe crowd than the leather-and-Levi constituency. And straight friends I've taken like the place: They feel comfortable there, and they're entertained by the behavior of the patrons."

Read entire review for Run Hog Ranch

"Delicious, Original and a Lot of Fun"

-- Review by Aleza Freeman of Vegas.com

"Two words: cheesecake lollipops.

Delicious, original and a lot of fun, they embody all the qualities of Hawaiian Tropic Zone at Planet Hollywood.

From its creative menu to its innovative design, this New York import provides a tasty and enjoyable venue for lunch or dinner … or even just dessert.

At the entrance, a waterfall feature greets guests, while Olympic style flame torches dot the patio. Bamboo, a wine wall and lighting features designed to look like burning flames decorate the dining area. The bar is flanked by a video wall and offers 40 fine wines by the glass and several signature cocktails such as Espresso Martini, Grapefruit Fizz and Bikini Punch.

Though classier than a day at the beach, patrons at Hawaiian Tropic Zone may feel like catching a wave as spunky waitresses, or “table concierges,” dressed in bikinis and floral sarongs designed by Nicole Miller, attend to their every dining need. They also participate in nightly beauty pageants.

The menu features creative dishes, some familiar and some more exotic, from world-renowned chef David Burke. The presentation of each dish is impeccable. Even the onion ring appetizer looks almost too good to eat. Almost.

First, when dining at Hawaiian Tropic Zone, be prepared to see a lot of skin and a lot of tattoos. Second, the saying “What happens in Vegas, stays in Vegas,” may not apply at Hawaiian Tropic Zone. Several web cams are placed throughout the dining areas and bar, beaming images from the restaurant onto the internet for anyone to see.

So when you break your diet to bite into those yummy cheesecake lollipops, don’t expect it to go unnoticed!"

Complete review

"Nice Blend of Old, New Vegas"

--by Heidi Knapp Rinella, Las Vegas Review-Journal

"Golden Steer Steak House is a throwback to Old Vegas, no doubt about that. But as no throwback is truly authentic, this one comes with both the conveniences of modern living -- the smoke-free air, bottled water if you want it (and without arm-twisting), great wine selection and diversity of staff and guests. But it also comes with the drawbacks, which were mostly embodied by customers in shorts and sweatshirts, in a decidedly non-shorts-and-sweatshirts kind of place.

Geez, people; if you're paying $40 for a steak, would it kill you to put on long pants and a decent shirt? And this in the middle of winter.

But I digress.

Yeah, the prices are very much more New Vegas than Old, which I guess is to be expected on (or, more accurately, just off) the Strip these days. But in all other areas, the Golden Steer manages to meld the best of the old and the new.

The Golden Steer will celebrate its 50th anniversary this year. Even though I'm sure there have been ownership shifts over the years, the fact that it has survived that long and maintained an air of the past is unusual in any city, nearly unheard of in this one.

And long may it hail."

Complete Review

"A Roller Coaster of Visual Images"

Joel Berliner, Washington Times:

"Of all the entertainment in Las Vegas, the most electrically emotional is the Beatle's "Love" at the Mirage Hotel, an innovative collaboration between the Beatles and Cirque de Soleil. Combining theatrics, multimedia projections, acrobatics and the music of a band many consider the greatest in the history of rock, "Love" transcends its parts to become an enormously satisfying and magical entertainment.

The "Love" theater is disorienting, although it is surprisingly intimate for a 2,000-seat theater staged in the round. The show is an acrobatic ballet set to a 90-minute re-imagination of numerous Beatles songs melded seamlessly, rising to an emotional crescendo.

Initially devised by George Harrison and Cirque de Soleil, "Love" is the last fully involved Beatles collaboration through the participation and approval of Paul McCartney, Ringo Starr, Yoko Ono and Olivia Harrison.

The soundtrack was produced by original Beatles producer George Martin, working with his son, Giles, from the original master tapes. It is quite an accomplishment. More than a remix, the "Love" album is a 90-minute ride through the Beatles catalog, shifting among the band's hits.

It is a roller coaster of visual images spanning the Beatles' lives and career, interpreting through acrobatics, puppetry, theater and ballet the soundtrack of our lives on a multidimensional stage that envelops us from all angles. "Something" is a sky ballet of lovers on a trapeze; "Mr. Kite" is an onstage vaudeville psychedelic freak show of stunts and acrobatic stilt-walking; "Help" is a rush of in-line ramp skating gone mad.

"Yesterday" is a beautiful pas de duex played out among poignant flying fragments of memory. "Strawberry Fields" is a giant bubble fest that would do Lawrence Welk proud. "Lucy in the Sky With Diamonds" is an aerial delight on the flying trapeze. The finale, "All You Need Is Love," brings tears to your eyes.

The footage of the band projected at the emotional high point resonates on levels best felt and not described. "Love" transcends whatever minor flaws it may have as it takes us back to a time, long ago, when we were fab."

_

"John, Paul, George and Ringo are iconic, their body of work is historic, and their legacy as a band is integrated into the fabric of American culture. There are few, if any, names in entertainment that are more hallowed, and few histories that are more time-honored. Which begs asking, why risk desecrating The Beatles (tickets | music) by dragging their name through the kitsch, camp and overblown grandeur that all too often defines the Las Vegas landscape? "Love" answers that question. And does so profoundly.
The latest Cirque du Soleil (tickets | music) offering to take residency in the neon jungle of the Las Vegas strip, "Love" opened its doors to the public July 1, 2006, and occupies a custom-built, fully-mechanized, 2,013-seat theater-in-the-round in The Mirage. While the Cirque du Soleil name is hailed as the class and pinnacle of Vegas theater, a few questions have followed the productions opening months: How Soleil's high-flying aerials and form-defying acrobats would mesh with The Beatles, how long-time Beatles producer Sir George Martin and his son Giles would morph The Beatles, and how the two components would meld together.

In short, the results are transcendental.

The Beatles were magically minimalist in their musical approach, their profound songwriting offering timeless vehicles for their poetic and melodic genius. While some may find any adaptation of their original recordings to be sacrilege, Sir George and son did a masterful job of mutating the band's original Abbey Road recordings for "Love." Classic songs were given neo-classic, technologically-adept enhancements, their cores remaining unhindered, but buoyed by a remixed depth that sent sonic shivers through their structural spines.

Cirque du Soleil, in turn, worked within the framework of those songs, using the history of The Beatles to acrobatically render the social and political climates that their music soundtracked. From the tumultuous and explosive rooftop setting of "Get Back" and beyond the dynamic and larger-than-life characters that graced the stage through "Eleanor Rigby," the onstage color and flair offered a sensory overload to match The Beatles on "Ed Sullivan," their mania at Shea Stadium, or the psychedelic swizzle and swirl of "Sgt. Pepper's Lonely Hearts Club Band."

Bungees were integral to the show, as they were climbed and repelled on opener "Because," propelled birds about the stage and into the crowd on "Blackbird" and offered flight to airborne muses during "Come Together." A full-blown carnival sideshow atmosphere engulfed "Being for the Benefit of Mr. Kite!" which culminated in a jaw-dropping swing trapeze routine before mop-headed rollerbladers navigated half-pipes on "Help!" From the white-cloaked cocoon of "Within You, Without You," into the underwater embrace of "Octopus' Garden" and beyond the gleefully aloof "Lady Madonna," The Beatles were brought to life in a magnificent and relevant splendor.

As engaging as the Cirque du Soleil performances proved, and despite the sonically astounding nature of the 27 musical acts, neither outshined the other. In fact, it was the sheer brilliance of their adjoining attributes that far outshined any single song or acrobatic display.

In hindsight, if all we truly do need is love, there may not be a better template for this production than Las Vegas. In a city where false hope shines like a beacon, The Beatles and Cirque du Soleil have united to let "Love" light the way. Hope has never sprung more eternal."

"Gritty but a Crowd-Pleaser"

From Mike Weatherford of the Las Vegas Review-Journal:

"...the absorbing story that propels this musical biography of Frankie Valli and The Four Seasons has surprised audiences around the country. Those who expect perhaps a "Forever Plaid"-style revue get a crackling, cinematic staging of a saga so messy it can only be true.

Or at least true to the diverse viewpoints of the four original Seasons, who each narrate one metaphoric "season" of the group's history. The first, Tommy DeVito (Jeremy Kushnier), tells you up front that if you ask four different guys, "you get four different versions."

Director Des McAnuff shaped the 2005 Broadway hit with writers Rick Elice and Marshall Brickman, who was Woody Allen's co-screenwriter on "Manhattan" and "Annie Hall." They've deftly meshed the group's complicated history with its song catalog. More often than not, hits such as "Bye Bye Baby" are interrupted by dialogue, fading into background to underscore the action. When a song such as "My Eyes Adored You" does break out, "Mamma Mia!" style, as the emotional expression of traditional show tuneage, the impact is more effective for its rarity.

The group slogs its way through dive bars and bowling alleys until it meets Bob Gaudio (Erich Bergen), a teen songwriting prodigy who explains to the audience that he already was a one-hit wonder at age 17, having penned the immortal "(Who Wears) Short Shorts." The quartet teams up with flamboyant producer Bob Crewe (John Salvatore) and slowly but surely makes magic: The slow wind-up doesn't deliver the first Four Seasons hit "Sherry" until the 50-minute mark, and by then the audience is ready to cheer the triumph.

Some anxious fans have wondered whether and how much the musical would be cut for Las Vegas. The answer seems to be, imperceptibly, if at all.

"Jersey Boys" might be gritty, but it's a crowd-pleaser at heart."

Read the Entire Review of Jersey Boys

"Ellis Island steak special still packs ‘em in"

Dave Wilson of the Las Vegas Sun

"Our Ellis Island, which features its own microbrewery, celebrates its 40th anniversary as a favorite spot for the budget-conscious. We headed over (on Koval, behind Bally’s) to check in on its legendary steak special, one of the all-time favorite Vegas deals.

Like many of these specials, it’s not on the menu.

Inside the casino’s restaurant, aptly named “Restaurant,” you can score a 10-ounce filet, a side of green beans and choice of potato (garlic mashed, baked, or steak fries), along with the microbrew of your choice or the EI’s own root beer, for $6.99.

It’s a great value, although if you’re not a fan of the A1, you’ll want to bring your own Mrs. Dash. It’s a good-size cut, but is remarkably bland, with another diner at my table saying it tasted “like water.” But we’re not passing judgment here. It’s a good deal, and a little salt and pepper always changes the game.

An added bonus: If you’re there after 9 p.m., the adjoining bar is a karaoke hotspot, often praised as the city’s best. So if you enjoy dinner while listening to what sounds like a wildebeest being strangled, then opt for heading over a little later."

Read Entire Review
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Voted Best Microbrewery
Voted Best Microbrewery by Review-Journal's "Best of Las Vegas" Reader's Poll (staff selection)
"What's the only thing in the known universe better than a good beer? A good, cheap beer. This is what you get at Ellis Island, where their delicious brews are only $1, all the time. They have four varieties -- Light, Dark, Amber and Hefe Weiss -- and some top-notch barbecue to chase it down with. You'll leave with your belly -- and your wallet -- pleasantly full. "
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Voted "Best Karaoke" by the readers of CityLife Magazine reader's poll

"Singing over canned music never sounds as good as it does every night starting at 9 p.m. inside Ellis Island. The casino's karaoke scene consistently wins the Review-Journal's "Best of Las Vegas" distinction, and a lot of that is due to master of ceremonies Timmy Welsh, who never flinches or shows any sign of grief, no matter how out of tune some fat dude's caterwauling rendition of a Swing Out Sister song might be. This place gets packed on weekends, when you're more likely to find talented singers. Sure, there are other flashier karaoke experiences on the Strip proper, but for a good time, it's hard to beat Ellis Island."

"Bette Midler unleashes her 'most divine divine'"

By Randy Lewis, Los Angeles Times

"Bette Midler is brash, funny, schmaltzy, surprising, poignant, charming, provocative, witty, bawdy and, of course, divine. She knows where Hollywood keeps its skeletons, and she's not afraid to throw open closet doors and drag out what she finds within. She's an absolute master of the stinging put-down, she can belt a big, brassy ballad second to none, do a bit of hoofing and is a former Academy Award nominee to boot.
So how come nobody ever got Miss M to host the Oscars?"

Entire Review
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"Midler Shines in Some Parts"

From Mike Weatherford of the Las Vegas Review-Journal:

"...It's perfectly understandable that the shakiest segment is not only the one that attempts to do something new, but also one that pulls the focus away from the star: the big, satiric production number built around Midler's mermaid character Delores DeLago.

...

And it will surprise no one, or at least it shouldn't, that the most touching moment is Midler sitting on the stage steps and strumming a ukulele to "The Glory Of Love."
...

All Midler seems to need is time to be herself, or at least the persona she's created for herself. And that's never been much of a problem."

The Entire Review

"Sounds of Originality: Entertaining Toxic Audio a mostly family-friendly show "

From Mike Weatherford, Las Vegas Review-Journal:

"Oh sure, the showoffs in Toxic Audio can shape a rhythmic version of Harry Nillson's "Coconut" out of coughs, sniffs and sneezes. But what can they do when the mulberries aren't in bloom?

Plenty, as it turns out.

No instruments or recordings are employed by the a cappella quintet, but there's plenty of instrumentation. Every drum solo and bass beat comes from the mouths of the five Toxic Audio members.

The quintet carved out some off-Broadway turf in the "wordless theater" genre of "Stomp" and the Blue Man Group in 2004, so it's a no-brainer that they would want a base camp on the Strip alongside those shows.

Word of mouth can only help the troupe get established. To the credit of their originality, describing them usually comes off like "The Player" or some other flick in which you see a desperate writer getting about 15 seconds to make a pitch to a movie studio executive.

Here, you'd say it's Manhattan Transfer meets The Second City, meets Doug E. Fresh or Rahzel (depending on which beatboxer is your generational reference point)."

Read Entire Review

"Best Thai Restaurant in America?"

From the L.A. Times:
"So we drag you out to a strip mall in the east end of nowhere and you wonder why? Because here is what critic Jonathan Gold of Gourmet magazine called no less than the best Thai restaurant in North America.

What makes this place so darn special? First of all, in addition to all the usual beloved Thai favorites, they have a separate menu featuring lesser-known dishes from northern Thailand -- they don't routinely hand this one out (since most of the customers are there for the more pedestrian, if still excellent, $5.99 lunch buffet). Second, the owner drives at least twice a week back to Los Angeles to pick up the freshest herbs and other ingredients needed for his dishes' authenticity. That's dedication that should be rewarded with superlatives."
Read Entire Review

Other review headlines:
"The single best Thai restaurant in North America"
- Jonathan Gold, Gourmet Magazine

"The greatest Thai meal I've every eaten outside of Thailand."
- The Rosengarten Report, David Rosengarten

"Lotus of Siam is the best Thai Restaurant I've tried in this country"
- Heidi Knapp Rinella, Las Vegas Review Journal

"There's nothing as good- -or as lip-numblingly hot- -in L.A."
- S. Irene Virbila, Los Angeles Times food critic

"It was the smartest gamble we'd made all day."
- Budget Living, Liza Schoenfein and Mark Jannot

"I can't think of any other Thai restaurant I'd rather go to."
- Las Vegas Life, Max Jacobson

"Sticky Rice with Mango and Coconut Cream at Lotus of Siam,
is at once sumptuous and seductive-and biochemically, a perfect,
cooling finish to spicy Thai cooking."
- Las Vegas Weekly, Max Jacobson

"Don't skip dessert, or you'll regret it deeply"
- Chow, Ellis Weiner

"This famous hole-in-wall introduced me to extraordinary Thai dishes."
- Food&Wine, Dana Cowin

"The most addictive place to eat in the city."
- USA Today, Jerry Shriver

"A Hotel on Crack"

from the TimesOnline:

"The Palazzo has a vast casino, with 120 table games and 1,400 video poker machines creating an electronic goblin's chorus that accompanies the “kerching!” of the serried ranks of slot machines. The huge theatre - where the Tony award-winning Jersey Boys, the story of Frankie Valli and the Four Seasons, is playing - was full every night with emotionally incontinent fans.

The Palazzo is more than Vegas with extra sequins. It's a hotel on crack. My advice? Enjoy the high while it lasts. And when the swirling kaleidoscopic buzz of franchised avarice and sleaze wears off, remind yourself that while what happens in Vegas stays in Vegas, you don't have to. And leave."

Entire Review
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Love the rooms, hate the casino

What's in the cards at the Palazzo?
By John Deiner
The Washington Post

"...Or save your money and don't leave the rooms, which are lavish and ridiculously large. Our suite, a soothing melange of beiges and dark browns, featured a sunken living area with a sectional sleeper sofa, two 42-inch flat-screen TVs, three phones and a soaking tub the size of a koi pond. But we're easy: Our favorite attraction was the remote-controlled Roman shades that opened to a full view of the mountains to the east.

Conclusion: We're fans of the Palazzo, though, come to think of it, we really hate the casino. But the suites make up for it, and at $199, they're a great deal by Vegas standards. Given the choice, we'd opt for the Palazzo's polish over the Venetian's tackiness. And when ''Jersey Boys'' begins its open-ended run in April, there'll be another good reason to check in and check the place out."

Complete Review

"Good for Kids but Otherwise..."

From Mike Weatherford of the Las Vegas Review-Journal:

"...The early word from people who beat me to the bubble show was, "It's fine for a 15-minute act, but it's not a whole show." My response would be to invoke the "kids clause" rarely used on the casino show patrol.
...Yang's lack of stage charisma doesn't help either. At one point, he lip-syncs to his own recorded narration. At another, an audience member yelled, "Speak up!"

The Entire Review

"Not Much Fun"

From Joe Brown, reviewer from the Las Vegas Sun:

"No one wants to be a big meanie about a show featuring an admirable, adorable bunch of older gals. But it has to be said: The 1.5 million worldwide members of the fast-growing, fun-loving sorority for women 50 and older are a juicy, underserved target market, urged to pay cash money (plus a two-drink minimum) for what amounts to a live infomercial for the Red Hat Society. Occasionally naughty, mostly cloying and saccharine, the show, at 75 minutes, seemed to stretch out like, well, half a lifetime.

With apparent hopes of imitating the Strip success of “Menopause the Musical” (hitting its second-year mark at the Las Vegas Hilton), “Hats!” is cheery in a cheerleader-y way, an unevenly stitched together (and still somewhat under-rehearsed) patchwork of songs and skits about a “49.999”-year-old woman as she struggles against embracing her age."

Complete review

"Really Good Steaks"

From Frommer's:
"A venerable steakhouse with branches throughout the U.S. -- in fact, Mr. Morton is the proud papa of Peter Morton, formerly of the Hard Rock Hotel over yonder. Like The Palm, this place serves "boy food" -- steaks, really good steaks -- and we are not prepared to say which (The Palm or Morton's) has the better hunk o' red meat because, frankly, after a while, these subtle distinctions elude us. Anyway, this is an old-time Vegas hangout (because most actual old-time Vegas hangouts have closed), even in its relatively new off-Strip location. In addition to your cut of beef, suggested sides include flavorfully fresh al dente asparagus served with hollandaise, or hash browns. And it's a good place to hang around post-dinner, drink Scotch, and smoke."

"Very Charming and Un-Vegasy."

From Frommers:
"A little bit off the beaten path, Pamplemousse is a long-established Vegas restaurant that shouldn't be overlooked in the crush of new high-profile eateries. Evoking a cozy French-countryside inn (at least, on the interior), it's a catacomb of low-ceilinged rooms and intimate dining nooks with rough-hewn beams. It's all very charming and un-Vegasy. There's additional seating in a small garden sheltered by a striped tent. The restaurant's name, which means "grapefruit" in French, was suggested by the late singer Bobby Darin, one of the many celebrity pals of owner Georges La Forge.

Your waiter recites the menu, which changes nightly. The meal always begins with a large complimentary basket of crudités (about 10 different crisp, fresh vegetables), a big bowl of olives, and, in a nice country touch, a basket of hard-boiled eggs. Recent menu offerings have included out-of-this-world soups (French onion and cream of asparagus, to name a couple) and appetizers such as shrimp in cognac cream sauce and Maryland crab cakes with macadamia nut crust. Recommended entrees include a sterling veal with mushrooms and Dijon sauce and an even-better rack of lamb with pistachio nut crust and rosemary cream sauce (all sauces, by the way, are made with whatever the chef has on hand that evening in the kitchen). Leave room for the fabulous desserts, such as homemade ice cream in a hard chocolate shell."

"Solidly Good"

From Frommers:
"Yes, that Dan Marino. No, he's not cooking. But it just figures, doesn't it, that a hotel called Hooters would have a steakhouse owned by a former quarterback? Doesn't get much more manly than that. Anyway, if you can get past the testosterone, what you will be rewarded with is a solidly good, more affordably priced establishment than comparable spots in higher-profile Strip hotels. Lots of finger food, lots of meat, lots of fat, lots of calories, but we mean that in the good way; starters like a three-cheese spinach dip (topped with sour cream, onions, and bacon) indicate that much of the menu is more or less high-falutin' versions of Sunday-afternoon-sports TV-watching munchies. Prime rib has an unexpectedly smoky flavor and Lawry's seasonings, while juicy filet tips are served with garlic mashed potatoes and crispy onions. Dessert is more Guy Food, like a large, pie-cut chocolate chip cookie topped with ice cream and sauces."

"One of Our Favorites"

From Frommers:
"This charming bistro is one of our favorite local restaurants. It has it all: a delightful setting, better-than-average food, and affordable prices. Sure, it goes overboard in trying to replicate a classic Parisian bistro, but the results are less cheesy than most Vegas attempts at atmosphere, and the patio seating on the Strip (no reservations taken there -- first-come, first-served, but a recent addition of 70 more seats probably helps matters) actually makes you feel like you're in a real, not a pre-fab, city. You can be budget-conscious and order just the very fine onion soup, or you can eat like a real French person and order classic steak (the filet mignon is probably the best cut, if not the cheapest) and pommes frites (french fries). There are plenty of less expensive options (which is why we listed this place in the "moderate" category, by the way). Yes, they have snails, and we loved 'em. Desserts, by the way, are massive and should be shared (another way to save). The baseball-size profiteroles (three or four to an order) filled with fine vanilla ice cream and the football-size bananas-Foster crepe are particularly recommended. Ooh la la!"
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Voted #3 in Best Romantic Restaurants by AOL City Guide "City's Best" 2007

"Hopefully it won't shatter too many illusions to reveal that Mon Ami Gabi, the delightful French bistro that features indoor and alfresco dining at the Paris Las Vegas Hotel & Casino, has its origins not in the original City of Lights but in America's City of the Big Shoulders. Chicago restauranteur Richard Melman's innovative Lettuce Entertain You chain is the creative force behind this lovely cafe that offers simple but wonderful French comfort food and wonderful views of the Strip and the dancing waters of Lake Bellagio.

The fancy baroque trappings -- red velvet drapes, carved mahogany woodwork and stained glass entryways -- suggest a budget-busting dining experience, but prices are surprisingly affordable. Choose from onglet (hangar steak), crepes, quiches, grilled chicken breast, roast duck and navarin (stew) of lamb. Everything comes with excellent french fries and a crusty baguette that tastes like it was just baked, probably because it was. Go continental and have a glass of wine, and save room for the outstanding dessert crepes."
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Las Vegas Weekly's Reader's Choice Awards 2007 -- "Best Outdoor Dining"

"This French-themed steak house serves wonderful steaks, oddball but highly addictive curved French fries and a number of bistro dishes. But what makes it so great is a Strip-central location, with a patio that literally hangs out over the sidewalk, meaning incredible people-watching."

"Buffet: More Bang For The Buck"

From Frommer's:
"Now, the admittedly high cost of this brunch seems antithetical to the original purpose of a buffet: a lot of food for minimal money. However, if you're a dedicated buffet fan, this is probably a better spree than one of the many new high-priced restaurants. It works out to less money in the long run, and you will get, for your purposes, more bang for your buck. It's a fancy deal -- linen and silver-bedecked tables, waiters to assist you, if you choose -- and while the variety of food isn't as massive as at regular buffets, the quality is much higher in terms of both content and execution. We're talking unlimited champagne, broiled lobster, caviar, sushi, and rotating dishes of the day (items such as monkfish with pomegranate essence, tenderloin wrapped in porcini mushroom mousse, and even ostrich). No French toast that's been sitting out for days here! Perfect for a wedding breakfast or just a big treat; stay a long time and eat as much as you can."

"Too Much Audience Involvement"

Mike Weatherford of the Las Vegas Review-Journal saw Toni Braxton's show at the Flamingo and wrote this:

(An excerpt)

"Amid all the hoopla surrounding Celine Dion's final shows last weekend, Las Vegas' other working pop-star mom forged on with "Revealed," a revue that runs on a fraction of the budget of "A New Day ..." but likewise has become a smoother, more graceful showcase over time.

Braxton is actually a year older than Dion; she turned 40 on Oct. 7. But she's still able to work the spangly mini-outfits and the sex appeal cultivated through the steamy videos that accompanied her run of hits in the 1990s.

Just as important is delivering it with personality. Braxton banters with the ringsiders who line a small stage extension like a cross between Oprah and the Rat Pack, to the point that those seats could come with a disclaimer: "You will be in the show. The gents will have their laps occupied."

"Is there any truth to the seven-year itch?" she asks during a typical girl-talk detour. Elsewhere, she solicits all birthdays and special occasions for a collective singalong.

By this point, most of the crowd is extremely forgiving of a breathy contralto that often was barely above a whisper, albeit an agreeable whisper. Many lyrics were indiscernible to those who don't know them already. Braxton had canceled two shows earlier last week, and on Friday told the crowd that she was bouncing back from "a terrible, terrible cold."

It also may explain the anticlimactic treatment of her best-known songs. They just don't have the resonance they should, considering Braxton sold 8 million copies each of two albums ("Toni Braxton" and "Secrets") in the '90s. Could be the cold, but more of the letdown seems to lie in how the songs are handled beyond the actual singing. Time after time, the show seems to head toward a musical peak that never quite materializes.

"Another Sad Love Song" is interrupted to bring an audience member up to sing it. "Breathe Again" becomes the lap-sitting bit, complete with photo ops for the lucky fellows. Finally, at the end, Braxton emerges at the top of the staircase, looking all Diana Ross, ready to knock one out of the park with her biggest hit, "Unbreak My Heart."

But guess what? The crowd is invited to join in again."

{MORE}

Read the entire Toni Braxton review

"A Classic Cirque du Soleil Show"

A review by a writer from BlogCritics.com

"I recently had the pleasure of seeing Mystère again after many years and it hasn’t lost any of its excitement or thrills. Mystère is a classic Cirque Du Soleil show that features a cast of outstanding athletes performing feats that challenge our imaginations and make us reexamine the mystery of what it means to be alive. The show is a thrilling mixture of athleticism, humor, wisdom, beautiful music and lights, and, well, mystery. The acts include Chinese Poles, Hand Balancing, Aerial High Bar, and Bungee. The cast includes 75 international artists and the show has been performed for 8.5 million spectators over more than 6000 performances.

Mystère contains two of my favorite Cirque acts of all time. First there is the hilarious baby whose antics delight us through the 90-minute performance. He (or she) becomes our alter-self as we experience through the eyes of a precocious child the dangers and wonders of living. When you watch a Cirque show you are often transported to a time of childhood. You can’t help feeling the profound joy of discovery.

The other act that almost defies description is, in my opinion, the best act I have seen in any Cirque show: a brother act called Hand To Hand. There are no trapezes, no bungee, no poles - just two guys doing feats of strength and balance using each other as sole support. They are the brothers Marco and Paulo Lorador from Portugal. They are not only physically beautiful, but their acts of strength, requiring enormous trust, stamina, and balance, are a powerful expression of the male bond between brothers..."

View entire review.

"Voted Best Singles Bar"

Voted "Best Singles Scene" (#3) in AOL CityGuide's CITY'SBEST 2007

"True to its name, ghostbar feels as if it's hovering over Vegas, a world apart from the chaos below. Located on the 55th floor of the Palms, this club boasts a spectacular view of the Strip and much of the valley.

But ghostbar is more than its view -- it's a fun, hip spot to relax, enjoy a cocktail and listen to some great rock and hip-hop music. The room is perfectly rectangular and decked out with space-age bachelor-pad type furnishings. The crowd lounging on those funky silver sofas and chairs is as cool as the decor.

Not only does ghostbar offer a 180-degree view from its windows, but you can head outside onto the patio to enjoy an even wider view and the Vegas night air. The patio extends straight out the front of the club and there are two bars on either side. There are a few spots to sit outside, but the crowd mostly comes to stand, mix and mingle.
ghostbar is a small, intimate club and it's immensely popular with the 20- and 30-something crowds."
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Voted "Best Singles Bar" '06 by Las Vegas Review Journal reader's poll

"When readers want to canoodle with the fairest members of the opposite sex, they hit ghostbar. The place is all luminous blues and silvers, with huge floor-to-ceiling windows that offer some of the best views of the Strip. And on the one-of-a-kind ghostdeck, you can see through the acrylic floor to the lounge below. You've never seen anything like it. Careful though, you'll be so busy staring at the decor that you may miss your chance to bat an eyelash at all the hotties surrounding you."

"A Michelin Winner"

Acclaimed French Chef Joel Robuchon has earned a coveted star in Michelin's inaugural culinary guide to Las Vegas & Los Angeles restaurants. One star means "a very good restaurant in its category". There are 12 one-star Michelin winners in Las Vegas. Robuchon's "Joel Robuchon", also in the MGM was the only 3 star winner in either Las Vegas or L.A.

"A Michelin Winner"

Acclaimed New York chef Daniel Boulud has earned a coveted star in Michelin's inaugural culinary guide to Las Vegas & Los Angeles restaurants. One star means "a very good restaurant in its category". There are 12 one-star Michelin winners in Las Vegas.

"A Michelin Winner"

Acclaimed Bay Area Chef Bradley Ogden has earned a coveted star in Michelin's inaugural culinary guide to Las Vegas & Los Angeles restaurants. One star means "a very good restaurant in its category". There are 12 one-star Michelin winners in Las Vegas.

"A Michelin Winner"

Acclaimed chef Charlie Palmer has earned a coveted star in Michelin's inaugural culinary guide to Las Vegas & Los Angeles restaurants. One star means "a very good restaurant in its category". There are 12 one-star Michelin winners in Las Vegas.

"Crammed, Stuffed, Bulging with Hits"

From Joe Brown, Las Vegas Sun

"Manilow show gets update, and this time it’s ‘ultimate’"
"The latest edition of Barry Manilow’s show at the Las Vegas Hilton is called "Ultimate Manilow: The Hits." And true to its title, it’s crammed, stuffed, bulging with hits.
..........
Emerging from an M-shaped door, backlighted in a cloud of fog (sort of like the alien in “Close Encounters of the Third Kind”), Manilow begins the first of what seem like dozens of hits — “It’s a Miracle” dovetails with “Daybreak,” “Weekend in New England” and on and on. He’s also restored a longtime favorite part of the show, a romp through the commercial jingles he penned before pop stardom, and he Manilizes a string of hits from decades past, part of his series of successful "Greatest Songs" albums.
.......
Manilow at 65 is a tireless performer. Relentless, even. He hits the notes and holds them, cheerily joshes himself and the fans, bops around the stage like a Barryonette. It was rumored that Manilow had his hips replaced a few years ago, but it seems more likely he has become entirely cyborg, because he whips through the show with barely a break for breath."

Read entire review here
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Mike Weatherford, a reviewer for the Las Vegas Review-Journal takes another look at Barry Manilow, who performs off and on at the Hilton.

"For Better or Worse, A Throwback"
"When Barry Manilow set up shop at the Las Vegas Hilton in early 2005, I wrote, "For better or worse, it feels like a show from a veteran Las Vegas entertainer that could have been there a long time already."

The show has changed since then, and now I've got to take it one step further: Manilow could have performed this entire act when he was across Paradise Road at the Riviera in April 1981.

Manilow has become even more the old-Vegas showman than he was only a couple of years ago. "Music & Passion" has less of a biographical thread than when it debuted. Now it's a complete throwback to the old showroom days; as long as you had a hit or two under your name to lure them through the door, it didn't matter what else you sang as long as you were entertaining."

Weatherford's complete Manilow review

"Just a Perfect Restaurant"

From Frommer's:
"Just a perfect restaurant, thanks to a combination of the most divine dining room and view in Vegas (situated at the top of the Palms Hotel, with three sides of full-length windows that allow a panoramic view of the night lights of Vegas; obviously, window-side tables are best, but even seats in the center of the room have a good view), and one of the best chefs in a town where many great chefs have restaurants but are rarely in their kitchens. (Emeril and Wolfgang, we love them, but they can't be in 25 different places at once.) Overseen by Andre, he of the eponymous (and excellent) restaurants Downtown and in the Monte Carlo, the executive chef is Jacques Van Staden, who trained with one of the world's greatest chefs, Jean-Louis Pallidin. The menu changes seasonally, but anything you order will be heavenly.

On our last visit, we had perhaps 14 different courses, and not a single one disappointed. In the appetizer department, the marinated jumbo lump crabmeat and avocado salad with heirloom tomato consommé and basil oil was a riot of freshness, while the gnocchi with sautéed wild mushrooms, black truffle, and mushroom emulsion was the kind of dish clearly created by someone thoughtful and clever. A phyllo-wrapped baked pear and Roquefort cheese with a vinegar-and-port reduction was less salad (as it was billed) and more hot appetizer. The foie gras comes in a pink-grapefruit-and-citrus-honey reduction, a tangy combination. Fish can be a little dry here, so we suggest either the stunning New York steak with summer truffle jus and potato herb pancakes, or the meltingly tender lamb chops with some shredded lamb shank wrapped in a crispy fried crepe. Desserts are similarly outstanding and often of great frivolity, such as sorbet in a case of browned marshmallow, floating in raspberry soup. Yeah, we're going over the top on this one, but we bet you won't think we're wrong."

Alize Wins Michelin Award
Acclaimed Las Vegas chef Andre Rochat has earned a coveted star in Michelin's inaugural culinary guide to Las Vegas & Los Angeles restaurants. One star means "a very good restaurant in its category". There are 12 one-star Michelin winners in Las Vegas. Andre's original restaurant, Andre's Downtown, was also a one-star winner.

"Top 10 Buffet"

Forbes.com rates The Buffet at Wynn Las Vegas one of it's Top 10 Las Vegas Buffets

"Just like everything at this hotel, the buffet, which includes 17 action stations, is first class--right down to the napkins, which feel more like linen than paper. The dining room is elegantly appointed with stunning tile work and marble. The sushi and smoked salmon are standout. You can expect slightly more refined dishes like the tamarind glazed salmon or jumbo grilled asparagus and pesto mashed potatoes. The setting makes gluttony classy. Lunch: $21.95, Dinner: $33.95/Fri-Sat. $37.95 "

"Best Brunch"

Voted the City's Best Brunch in Las Vegas Life Magazine ('07)

"Readers of Las Vegas Life magazine chose The Verandah in the Four Seasons Hotel (within the Mandalay Bay complex) as the city’s best brunch earlier this year. It’s a choice that’s wholeheartedly seconded by Vegas visitors, as well as the locals, who praise its relaxed ambiance — a quiet, peaceful oasis from the Vegas crowds — almost as much as its food and service. The New American menu is extensive and includes healthy options (non-fat, low-fat and sugar-free) such as cholesterol-free and egg-white omelettes and fresh fruit. Traditional fare includes house-smoked Atlantic salmon; applewood-smoked bacon; mini-Belgian waffles and corned beef and pastrami hash. Save room for its homemade baked goodies — croissants, muffins, Danish and donuts — and breads.

You can eat inside or on the Mediterranean-style outdoor terrace overlooking the pool, where you’ll truly feel as if you’re anywhere but the Strip. The weekend brunch is $35 per person ($42 with a Bloody Mary or mimosa); reservations strongly recommended. (Make them as soon as you know you’re going!)"

"Best Restaurant With A View"

Voted "Best Restaurant With A View" (#1) by readers of AOL CityGuide's City'sBest2007

"If Top of the World is the ultimate room with a view in Las Vegas, it is also one of the more affordable gourmet dining spots in the city, particularly at lunch. Located 800 feet above ground in the Stratosphere Tower, this elegant and romantic rotating restaurant offers guests unparalleled views of Las Vegas and the surrounding mountains. Ideally, guests should arrive at dusk to view the sunset, and watch the lights illuminate along the Strip as the meal is served. Start with wine, from a list that has earned an Award of Excellence from Wine Spectator. Appetizers include shrimp scampi and a chilled prawn cocktail; popular main courses include Colorado Rack of Lamb, Chilean sea bass, Veal Oscar, prime rib and Twin Lobster Tails. While dinner prices can be described as stratospheric, the lunch menu features sandwiches, salads, pasta and chicken dishes, with entrees starting under $10."

"Great Gastronomical Experience"

From Las Vegas Life Magazine "Best of 2007" -- "Great Gastronomical Experience"

"Nothing against master chefs Guy Savoy or Joel Robuchon, but in a town full of celebrity chefs, it's nice to know that one is always behind his namesake restaurant. Like most of the other award-winning chefs at Wynn, Alex Stratta is there every night running the show, personally overseeing every detail, putting his hands on every plate. If you're going to splurge for an ultra high-end dining experience, think Alex. Prix fixe tasting menu, $195."

"Best Place to Imbibe"

From Las Vegas Life Magazine "Best of 2007" -- "10 Best Places to Imbibe"

"For years, going to the salon has allowed women to indulge in much-needed refuge from work, kids and life in general. Beauty Bar runs with the same concept. One of six in the country, our outpost of Beauty Bar promises to"serve as a refuge from the casino culture for locals and visitors alike." Adorned in retro tones of gold and with old school hair dryers, its kitsch factor is increased with the addition of alcove lighting from the former Algiers Hotel. No cover (except for special events), live DJs seven nights a week, and a martinis-and-manicures happy hour makes it a perfect spot to forget the world outside."

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Voted "Best Music Venue" in '07 Review-Journal Reader's Poll (staff selection)

"With a few exceptions, Las Vegas has a lack of steady outdoor venues -- probably because the summer heat is enough to make granite sweat. But the Beauty Bar fills the void in style by hosting shows on its back patio. There's no better way to enjoy the sublime sounds of bands such as High on Fire than standing beneath the stars, drinking beer from a plastic cup, surrounded by the constellation of lights with which the club has decorated its patio. Now the great outdoors finally can live up to all the hype."

"Best Place to Imbibe"

From Las Vegas Life Magazine "Best of 2007" -- "10 Best Places to Imbibe"

"Curiously situated at the corner of West Sahara and the northbound I-15 off-ramp lies the swankiest boutique hotel in the Valley. But don't be fooled by the unassuming exterior -- inside you're surrounded by rich woods, plush leather furnishings, row after row of antiquarian books and an amazing display of fine art reproductions. And it's no different in the elegant candlelit lounge, which feels a world away from the neon stranglehold of Las Vegas. Attentive bar staff, expertly prepared cocktails and a video poker-free bar top seals the deal, making the Artisan the ultimate in-town escape."

"Just Like Dining in Italy"

Voted Top Italian Restaurant (#2) in AOL CityGuide's City'sBest 2007

The goal at Valentino seems to be a revisitation of traditional Italian recipes and dishes with an emphasis on authenticity. Executive Chef Luciano Pellegrini's culinary prowess has earned Valentino top honors from the likes of Bon Appetit, Forbes, the 2001 Epicurean Award and the 2003 James Beard.

"Many of the ingredients in the kitchen are imported right from the old country, including white truffles, porcini mushrooms, burrata cheese from Puglia and Mediterranean and Adriatic Sea fish. The romantic setting at this cousin to the original and much-celebrated Valentino Los Angeles may surpass its predecessor in elegance with coral walls, tuxedoed waiters and frosted glass, but the refreshingly unpretentious menu lists ravioli and a pizza appetizer alongside the more sophisticated entrees. Main courses include Sicilian-style swordfish rolls with couscous, osso buco and medallions of veal with truffle demi-glace. The outstanding wine list tallies more than 3,000 bottles. Some folks may find the portion sizes a bit paltry, however, given the size of the tab."

Rated #10 in Gayot's "Top Ten Wine Lists in Las Vegas"

"Wine aficionado Piero Selvaggio, whose restaurants are renowned for their superb wine lists, has decorated his stylish Valentino as a monument to its 24,000 wines from around the world. Wine racks almost totally cover the warm wood-paneled walls of the intimate dining rooms. A table for four sits in what appears to be a wine closet; another wine cellar-style room seats 25. The vaulted-ceiling main room is decorated with elegant earth tones splashed with color to complement the cuisine. Furnishings and artifacts from Italy include the terrazzo flooring, Venetian glass for the lighting and plush leather chairs. Sicilian-born Selvaggio reached his goal to bring the fine foods and culture of Italy to America.
Expect Italian dishes you might not find elsewhere, plus excellent versions of classics that focus on the quality of the ingredients. Breads are baked in-house daily. Among imaginative appetizers are warm Maine lobster with spring mix, gold beet salad and pomegranate dressing, and Muscovy duck breast confit over wilted spinach and artichoke salad with raspberry vincotto. The risotto is made with sweet peppers, corn and fava beans. Entrées include gifted executive chef Luciano Pellegrini's sautéed pancetta-stuffed day boat jumbo sea scallops, and pan-roasted veal rack with mushrooms and polenta.
For dessert, try the chocolate ravioli over wild berries and mint soup. To make the most out of a splendid dinner here, choose one of the multi-course tasting menus."

"Consistent Quality"

(A review by Mike Weatherford of the Las Vegas Review-Journal 5/08)

"Consistent Quality: Second City comedy troupe wrings fresh material out of simple ideas"

I'm blaming the parking garages.

There's really no good reason why locals haven't made The Second City their own, embracing the Chicago-based comedy troupe as one of those "locals secrets" they share with their out-of-town visitors, and one of the reasons they'll venture to the Strip.

The comedy troupe puts up a fresh show at least once a year, with each edition having an overall quality that varies only within the range of "well worth seeing" to "amazingly good." But after six years, I'm still amazed at the lack of familiarity with Second City when I'm hit up for show tips.

Locals are far more loyal to "Mystere," which is kid-friendly but barely has changed a beat since 1993. Hence, the parking theory. The Treasure Island garage is a couple of easy right turns from an I-15 exit. The Flamingo Las Vegas has two garages, both of them labyrinths, and valet isn't that much easier to find.

But it's oh so worth it to see the guy (Michael Lehrer) who hires the no-nonsense Vegas hooker (Robyn Norris) to rehearse his marriage proposal for his gal back home.

Or the anxious dude (Rob Belushi) who wheels into a store to fast-grab some condoms before his gal loses the mood, only to be sized up and lectured by the seniors behind the counter.

It's sketch comedy grounded in reality and an occasional touch of sweetness. It's certainly less cartoonish than "Saturday Night Live," which brought the Second City format to the masses and continues to tap its talent pool (including Jason Sudeikis, who was part of the Flamingo cast in 2002 and '03).

Belushi might be next in line to be called up, if only because his name (he's the son of Jim, nephew of the late John). But here he's just one-fifth of a strong team, and talent scouts will weigh his topical election-season rap against Lehrer's soliloquy as a dancer at the Pork 'N Dreams gay club, who is having a career crisis at 24 but believes in "the audacity of hope."

Read Entire Review

A review by Mike Weatherford of the Las Vegas Review-Journal

"The Second City: Getting a Rise: Second City Laughs Go for the Gut and the Head
One sketch (on Viagra) does not a whole show make, but that one sets the benchmark for what Second City delivers when it's firing on all cylinders: a perfect balance of laughs that simultaneously go for the gut and the head. When it hits, it's a singular form of theatrical comedy that's made the troupe a Chicago fixture since 1959 and offered a distinct alternative on the Strip since 2001.

The five performers write their own material, and the new edition at the Flamingo Las Vegas retains three cast members -- Katie Neff, Paul Mattingly and Craig Uhlir -- and director Jim Carlson, who is charged with shaping their ideas into a cohesive whole.

The troupe returns to the raunchy treatment of grown-up themes from last year, spending a lot of time on the sexual politics that drive modern society at home and the office. Even the weaker sketches are better than most "Saturday Night Live" skits these days."
Read entire review.

"Almost Works But Runs Thin"

Review in Las Vegas Review-Journal by Mike Weatherford

"'Ooh La La' a guy thing: Almost works but runs thin of ideas
"Ooh La La" is a pretty good (girlie show) as these things go, better than three of the five small topless revues now competing with it.
(Ooh La La) audaciously makes a whole show of five women (rotating each night from a corps of eight) and even more daringly gives some of them things to say or sing.

It almost works.

The gals do magic tricks. They perform aerial acrobatics on a giant hoop or while suspended in swaths of fabric. One of them, Kelly Adkins (who is also the star of "Fashionistas") does a number in pointe shoes. And they change clothes a whole lot.

The lighting design is luxurious and downright impressive for a makeshift venue carved out the casino's former tour and travel lobby.

Still it's mostly a dance show, and despite the well-honed choreography by Gary Thomas, there's a limit to how much bump and grind you need to see from a cast of five. (There's always one recurring question at a strip