Items filtered by date: November 2007

I had no idea what to expect Sunday night when I went to Soldier Field to see Guns N’ Roses. I really didn’t. I knew what I had hoped to see in what is now the highest grossing tour in 2016 but was still a bit skeptical seeing as the band has been on the outs for such a long time. Reviews of the band’s “Not In This Lifetime” reunion tour have been mixed, some claiming that Slash had been carrying the show, implying the other band members were merely present as symbols of yesteryear so that as much of an original lineup could be put together as possible to warrant such a major occasion that could fill stadiums. That’s not what I saw – not even close. Yes, Slash was amazing in himself, but I saw a band that collectively charged the stage and played with an enormous amount of continuity, energy, confidence and precision. I saw a band where EACH member contributed as much as the next in what turned out to be a very special event – the event one can only hope for when throwing around the words “Guns N’ Roses reunion”. 

Having seen the band four times between the Appetite for Destruction and the Use Your Illusion releases, it is apparent that Guns N’ Roses now has access to a much larger and complex stage show where pyrotechnics and jumbo screens assist in presenting the band’s vision like never before. But of course you can’t have a successful reunion run without the music. There’s no denying the band has the catalog of material to please their hungry fan base, but let’s be honest – it’s been a long time since the band has played together and we now live in a world where comeback tours often recycle band members and thrust them on stage whether they can still perform or not. Guns N’ Roses is not one of these bands. While Slash wailed away on his Les Paul, effortlessly ripping through riffs and solos, bassist Duff McKagan also showed he was still in peak form even laying out impressive lead vocals on Iggy Pop’s “Raw Power”, a song the band covered on The Spaghetti Incident. McKagan patrolled the large stage area bleeding the Guns N’ Roses arrogance we have come to know, projecting the epitome of rock n’ roll attitude.

To me, I had little doubt that the instrumentation would be there, I was most curious if Axl Rose would still be able to gel with the others (and them with him) and, frankly, if his voice would hold up. Within minutes of the show, any doubts I may have had completely vanished. Axl was nailing it – and then some. With an incredible energy level that had him running all over the stage and grinding out his famous rock moves, Axl’s vocals were spot on and possibly even more powerful than ever before. His stage presence was dominant. He controlled the crowd. Who knows what goes on behind the scenes but all signs pointed to the three original members expressing great enjoyment as they played with each other – and this while playing at an optimum level. 

The still youthful band, both musically and physically fit, was rounded out with Richard Fortus, who has been playing guitar for Guns N’ Roses since 2001 and was a presence in his own right, drummer Frank Ferrer (since 2006) who gives Matt Sorum a run for his money, longtime keyboardist Dizzy Reed and newbie Melissa Reese who manned a second keyboard.

Like a locomotive, the band’s sound was delivered with force from the get go when they opened with “It’s So Easy”. In a set that lasted somewhere in the neighborhood of two hours and forty-five minutes, Guns N’ Roses tackled a plethora of favorites including “Mr. Brownstone”, “Welcome to the Jungle”, “Civil War”, “Sweet Child O’ Mine”, “Coma”, “Estranged”, “Live and Let Die” and “Rocket Queen”. The band also played a handful of material from their critically acclaimed 2008 release Chinese Democracy, going into the title track along with “This I Love” and “Better”. 

In what could only be interpreted as a tribute to Prince, the entire stage filled with billows of purple smoke just after an inspiring performance of “November Rain”. Duff also sported the symbol of Prince on his bass. Nice touch, fellas.  

Theirs was a set that never let up. After one gratifying selection after another the band finished up with “Nightrain” before returning for an encore with “Don’t Cry”, The Who’s “The Seeker” and a ramped up “Paradise City”. 

Guns N’ Roses “Not In This Lifetime” tour certainly lives up to the hopes of their many fans. It’s what fans knew the band could still be. Musically, the tour is fulfilling and visually, it is stimulating. It is the complete package. No shortcuts or cutting corners here. What fans get is an exciting, full blown Guns N’ Roses experience. I’m just glad Chicago made the band’s shortlist or tour stops. Great music, stage show and musicianship aside, not to worry, the band still carries a healthy “Fuck You” brashness after all these years – an important ingredient in G N’ R’s recipe for success.           

Alice in Chains provided strong support for Guns N’ Roses for their Chicago stops and is highly deserving of their own rave review. Though Soldier Field may be the last stop for Alice in Chains as opening support, Guns N’ Roses will continue to take heavy-hitting acts along with them on the road with Lenny Kravitz, The Cult and Wolfmother scheduled on later dates. 

So what’s next after a successful reunion tour? That’s what everyone seems to be asking while hoping the answer is simply to make a new album and tour the shit out of it. Guns N’ Roses is back.    

Amazing times can be had at a live production. Summer concerts can be especially nice; the sun is setting, the crowd is excited, and the opening act is about to take the stage. This particular musical presentation couldn’t have gone much better. 

Opening the show was blues legend, Charlie Musselwhite. The talented musician came out blowing the harp and he gave it all he had. His entire performance was just fantastic, warming up the crowd on a chilly summer night. The audience was certainly amped and ready for the “Space Cowboy”, as the seats and picnic area were already well occupied for this amazing guitar man. 

The Steve Miller Band then took over and hit the crowd right between the eyes with “Jungle Love”, “Take the Money and Run”, and “Abracadabra”, and that was just for starters. If Miller’s performance wasn’t thrilling enough, the place really exploded with excitement when Charlie Musselwhite was invited out to join in on a few bluesy songs. They did a few old cover songs from Little Walter and Freddie King. It was a very memorable time for everyone. 

Longtime fan, Ron Marten says, “I became a fan in 1976 when I was six-years-old. My mom had just bought an 8-track player and joined Columbia house. She was stiffed with this 8-track that was the selection of the month, Fly Like an Eagle. At that time, I was really into the "Space Intro". She couldn’t send it back now. It was part of my nursery rhymes.  We ended up playing the hell out of it.”

Miller’s set continued on with more hits; hit after hit after hit! The night couldn’t be better for any true fan of Steve Miller. He performed very well and his sound is always top notch.  Highland Park was truly fortunate to get an act like this playing in their backyard. 

One fan, however, seemed disappointed during an intro the song "Wintertime". “That was the Window!” he shouted. He turned about to his friends and joined in singing, “In the wintertime ……….”. His mood couldn’t be ruined. 

Steve Miller brought out all of his classics that he could including “Serenade”, “The Joker”, “Fly Like an Eagle”, and closed his triumphant set out with another favorite “Jet Airliner”. Not a single fan in the crowd could be disappointed with the set list. Seeing this man live is like flipping on a radio. Instantly the ear candy is something you know and it hits you hard. 

Ravinia Festival in Highland Park is the place to be to see a live act and who could possibly be better than Steve Miller?                    

It was a triple bill of Mary Chapin Carpenter, Indigo Girls and Shawn Mullins a cool Friday night in June, the perfect atmosphere for some hot music. And though the showed started early at, 6:30 PM, there was already a surprisingly good-sized crowd on hand well before the activities were to begin. For those of you who have not experienced Ravinia Festival in Highland Park, the park contains a massive picnic area that surrounds the pavilion where the stage is held. Some stay in the lawn area until the headliner hits the stage, others remain in the picnic area and just enjoy the ambience while listening to the concert to the speakers set up throughout. This show was no different. 

The first thing I noticed when I first heard the Indigo Girls over twenty years ago was their vocal harmonies, an interesting blend. Amy Ray has a very deep voice for a female singer and Emily Saliers has the higher and much more versatile voice. This makes for an interesting vocal blend. My only issue with this is the repetition of this formula on every song though I am not that familiar with their catalog of work in its entirety. I found that even though their sound is quite unique, after a couple songs their sound could get a bit predictable. Having said that, the crowd certainly approved of what they heard, many of them singing along and dancing in place.

The Indigo Girls were backed up by three other performers, a multi instrumentalist, a violinist/vocalist and a singer/guitarist. Even with the augmentation of the line up, I still found a lot of their songs have few variables to the band’s overall sound. The tempo and harmonies were just extremely similar from song to song.

Shawn Mullins opened up the night with an acoustic guitar, his own voice and an accordion player. This exceptional baritone singer had a really folky vibe that was a great warm up for the crowd. The pavilion had a lot of empty seats still at that point as concert goers milled about the grounds, but the people that were watching his act really appeared to enjoy his music. Mullins’ sense of humor was also very refreshing.

The act of the night in my opinion was the one in the middle, Mary Chapin Carpenter. She had a typical five-piece band line up, drums, bass, keys and guitar. Backing vocals were provided by the bass and keys players. Now, I don’t know why, but Carpenter is a performer I can honestly say slipped under my radar. A real veteran, her performance was amazing, as Carpenter played a great variety of material - and played it to perfection. If I were to label her music I would say folk….no, country….no, Rock and Roll….all of the above. I hate categories because of their limiting definitions anyway.  I like variety and her portion of the show was a great example of that. I really thought Mary should have been the headliner after watching her, but the Girls have a very strong following. It’s not right to say a certain performer is better than another, so I won’t go there. Rather, I simply found Carpenter the performer of the night.

The Indigo Girls is still an act worth seeing. I think maybe branching out a bit may be in their best interest. Their fans would probably disagree, that’s okay. Their following is very loyal, and this could be partly due to their social position…just a couple girls doing it on their own for the most part. I should probably listen a little more clearly to the lyrics, that is probably where the variety of their material lies. I’m sure it is also somewhat difficult to provide a lot of different tempos and rhythmic variations when you play without a live drummer. Heading into the show, I wasn’t sure what their lineup was going to be since I have mostly seen Amy and Emily play as a duet.

The Indigo Girls closed the show with “Closer to Fine”, the song that really put them on the map. The crowd was probably louder than the Girls were at times during that song. That’s what it’s all about really anyway, communication. If you can get an audience to respond like that, mission accomplished. So, to sum it up my criticism of the lack of variety was clearly only in my eyes. Their audience didn’t view it like that. I guess for me Bob Dylan is the same way. To the average listener, many of his songs sound the same. Am I comparing The Indigo Girls to Bob Dylan? I guess in a way, their appeal is in the same vein. Just simple songs played with their own particular flavor. Folk music is what it says it is, music of the people. The people responded, that’s all that really matters, not the opinion of one critic. 

One of the world’s most popular musicals has found a temporary home at Marriott Theatre in Lincolnshire. And you should see it! Celebrating five Tony Awards, including Best Musical, the 1964 hit takes on a most interesting chapter in the life of Don Quixote while spending time in prison as he awaits a hearing with the Spanish Inquisition. Based on one of 17th century Spanish writer Miguel de Cervantes’ most famed characters the 1959 teleplay I, Don Quixote set the stage for what has become one of the most successful musicals to date. Often referred to as a play within a play, Man of La Mancha focuses on Quixote, an imprisoned writer who has turned away from the harsh realities of the world such as battle, crime and poverty and decides rather to view the world as he wants to see it where a prostitute, Aldonza, can instead be a his beloved Dulcinea, a battered cane can be a mighty sword or a cooking pot can be a prized helmet – a victorious trophy. 

Music Director Ryan T. Nelson and six-time Jeff Award director Nick Bowling take on this long-time prolific musical, splendidly piecing together a production that engages throughout and profoundly touches the heart. It is together with the powerhouse acting performance of Nathaniel Stampley, that this production goes over and beyond, becoming an instant Marriott classic and a show that will long be remembered for its superb acting and gripping storytelling. Stampley brilliantly seizes the lead role, which is really two leading roles, as the passionate writer who has defied the Spanish Inquisition along with the imaginary knight he has become in his imagination. 

Stampley is an actor you can easily root for. Magnetic and captivating, Stampley is a tour de force, capturing the character’s subtleties while becoming a dominating presence when called for, particularly during his breathtaking rendition of the production’s famed song “The Impossible Dream”, which led to a much deserved extended applause that only escalated to a higher volume every time the cheers began to die down.  

Stampley gets solid support from actress Danni Smith who delivers a memorable performance of her own, the two skillfully playing off each other to generate the much needed connection to make this show work. Richard Ruiz is also excellent as Quixote's trusty sidekick, Sancho. As all Marriott shows go, we are treated to a very gifted ensemble, as well. 

Director Nick Bowling does add a twist to the original by having the story take place in modern times. Simply said, it works. As Bowling explains, “We put the story in modern day with the notion that there are inquiries still going today and there will always be inquisitions.” Bowling’s underlying tones are powerful and serve as a wake up call for some while everyone can still enjoy a masterful musical that can be as heartwarming as it can sad and often humorous in just the right spots. 

Wonderfully acted with a slew of talented vocal performances, Man of La Mancha is a sure summer hit that is sure to make theatre goers cheer, feel and emphasize with and for a man who dares to dream the impossible dream and fight the unbeatable foe. 

Man of La Mancha is being performed at Marriott Theatre through August 14th. Tickets range from $50-$55. For more show information visit www.marriotttheatre.com.               

In 2003, a little show called One Tree Hill hit the WB and its theme some “I Don't Want to Be” was quickly burned onto mix CDs by denim mini skirt, tie-belt, fedora wearing teen in the country. That theme song was sung by Gavin Degraw who stirred up a bit of early 2000 nostalgia as he performed at Ravinia with The Fray on June 25th.

Ravinia was packed to the brim to see the piano playing artists. Every seat in the Pavilion was taken, with swarms of people crowding over the railing to try and catch a view of the stage. I wouldn't have thought the headliners would have drawn such a large crowd with lawn seats running at $40 apiece and the heat climbing to just over 90 degrees at sunset. But with every grassy nook taken by late twenty, early thirty-somethings casually sipping drinks while they weren’t legally allowed to drink when the artists first debuted, I found myself pleasantly surprised. 

Gavin Degraw opened the evening, playing some of my own favorites from his many albums including “Chariot,” “I’m in Love with a Girl,” “Not Over You,” and his most notable “I Don't Want to Be.” His set played for nearly an hour and a half and he could have played until the gates closed without argument from the audience. The Fray didn't play as long. In fact, their set had more covers than originals. “How to Save a Life,” the band’s second single and the song that propelled them to worldwide fame in 2005, was the only song that seemed to resonate with the crowd. The only other song that the audience seemed to know of theirs was “Over My Head,” and without many other top 40 Billboard topping songs to note, The Fray paled in comparison to Degraw’s soulful set. But the pairing between the singer-songwriter and American rock band went together like red wine and cheese. Both of the artist’s songs were tailor-made for dramatic TV moments. The next time the duo come to Ravinia their sets should be accompanied by a large movie screen with TV clips from early 2000 shows. Think The Fray providing theme music to dramatic scenes on Scrubs and Grey's Anatomy, Gavin Degraw playing over sappy moments on One Tree Hill, The OC, Gilmore Girls. It would probably draw double the audience and it would certainly double the Y2K nostalgia.

Ravinia is just getting their summer season going and has an incredible line-up with shows through September that span dozens of interests, musical eras, and genres. Visit www.ravinia.org for schedule and tickets.

I thoroughly enjoy the Windy City Playhouse and it appears they did a renovation since I was there last. The seats are comfortable and a full bar is a fantastic feature to any theater, if you ask me. In addition, the staff are incredibly friendly and very caring. I will definitely try another play here but I have to say, This, left little to be desired. 

This explores the ups and downs of life from a group of five friends in their upper thirties. The set opens up in Tom (Steve O'Connell) and Marrell's (Tania Richard) New York apartment. They are hosting friends Jane (Amy Rubenstein) and Alan (Joe Zarrow). It is quickly discovered that Jane is a widow and Marrell is looking to set her up with her French friend, Jean Pierre, who is played by Brian Gray. As this group of friends reminisce about the college days they had spent together we gradually care less and less about them as there is nothing about them that is really likable or pulls us in. Over magnifying the problems and "tough" life decisions of this privileged and highly educated collection of characters (yawn), playwright Melissa James Gibson falls short in creating individuals we want to identify with. This tends to drag and never really comes around, refusing to engage its audience.      

I found the plot to be a bit predictable; maybe because it has been done before. I had a hard time connecting to this group of self-centered characters and found many of them to be a bit over the top. However, the best part of this play is Joe Zarrow. He played his witty character, Alan, perfectly and added just the right amount of comical relief when necessary. The only other plus besides Zarrow's performance, was in Katie-Bell Kenney's well-crafted set design to which we find ourselves peering into a believable apartment complex.   

Even though I didn't enjoy the play as much as other treasures at Windy City Playhouse, I'd still recommend taking the time to see it for yourself, if for any reason to support this wonderful theatre that has a great track record of hitting its mark. This is being performed at Windy City Playhouse (3014 W Irving Park Rd) through August 28th. Tickets range from $25-$45.

For those of you who are not aware, there is a great youth program taking place where a group of educators have created an alternative education source for CPS students. Enter Barrel of Monkeys. Barrel of Monkeys (BOM) is a combined group of actors, teachers and musicians that have developed a new, and fun, way for students to enhance their creative writing skills while building their self-esteem and open doors for them to express themselves. Mainly working with third through fifth graders, BOM focuses on working with underserved schools on Chicago’s South and West sides and the result has been a huge success.

Taking stories from students, this talented ensemble translates, then performs these ideas (often word for word, which can be amazingly hilarious) on stage, currently at the Neo-Futurist Theater in Andersonville. In what always turns into series of absurdly funny sketches, BOM’s performers act out each story, promptly giving credit to the student author before they begin.

Barrel of Monkeys now continues into the summer with their That’s Weird, Grandma series, a run that changes its overall theme throughout the year, the latest being That’s Weird, Grandma: The Summer Strikes Back. Again, with all material written by Chicago Public School students, you can just imagine how it translates when acted out by a professional theatre ensemble. Needless to say, the laughs are plentiful from beginning to end.

In Summer Strikes Back directed by Artistic Director Joseph Schupbach BOM performs seventeen sketches in their hour-plus performance, some converted into songs while others acted out just as they were written. Stories range in creativity and are each amusing in their own way. Though some stories may be as simple as a conversation between a bunny and an EXIT sign or “Taylor the Rose” where a rose reads off a list on what not to do to her – like pick her because she will die, BOM is able to find the humor in each while at the same time brilliantly promoting the imagination and expression of its young student writers.  With titles such as “The Day A Monkey Slapped My Cousin”, “Jake’s Very Bad Day”, “Walking Meatball and Mozzarella Cheese” and “Lady Spy”, you can only imagine the fun that awaits.

While getting the chance to enjoy a very humorous evening of one hilarious sketch after another, one is also supporting a fantastic program – a program that has helped students to write over 5,500 stories within the school year. An amazing outfit, Barrel of Monkeys has been pivotal in reaching out to students, 77% of teachers reporting a positive change in enthusiasm for language arts among their lowest performing students over the course of their residency.

That's Weird, Grandma: The Summer Strikes Back is a fun show that, though is mostly a laugh factory, can also reveal moving moments and profound insights of the student writers. With talented cast and musical members (I’ll just name them all since they all made terrific contributions) Nancy Casas, Kassi Bleifuss, Nick Hart, Krista Mickelson, Elizabeth Levy, Laura McKenzie, Spencer Meeks, Deanna Myers, Gwen Tulin, Dixie Belinda Uffelman, Rawson Vint and Joseph Schupbach himself, we get a uniquely well-rounded show that moves quickly and grabs you in from the moment the audience is directed into the seating area by an air traffic controller. This is also a show that can be seen more than once as audience members vote on their favorite sketches afterwards via secret ballot and new sketches are introduced into the following performance as others are removed.

A show for all ages (bring the kids!), Barrel of Monkeys: The Summer Strikes Back is being performed each Monday at 8 pm at Neo-Futurist Theater through August 15th. Tickets are beyond reasonable at just $12 for adults and $6 for children under twelve.   

Imagine a 70s-era Woody Allen movie set to music. That's basically "Company" by Stephen Sondheim. It premiered in a time when many Broadway musicals were just collections of songs loosely connected by a simple plot. In 1970, Sondheim's "Company" challenged that formula by presenting a musical that was more book than music. The story is even less clear than a classic Broadway show. It's the story of Bobby, a bachelor living in New York City with mixed-up ideas about marriage. 

Though Bobby (Thom Miller) is the main character, "Company" is about the women in his life. Writers Theatre director William Brown has assembled a stellar cast of Chicago actresses. Each scene is a vignette in which Bobby learns about his friends' marriages. Blair Robertson as uptight Jenny is charmingly neurotic. Tiffany Scott playing urban Southern bell, Susan, and with costumes by Rachel Anne Healy, looks like a young Cybil Shepard. With distinct performances from the female ensemble, it's hard to pick out a favorite scene from the show, however Allison Hendrix singing "Getting Married Today" is a highlight. For Sondheim groupies, this is one of the show's most popular numbers but also its most challenging with a unique staccato rhyming scheme. Hendrix pulls it off, and makes the comedy relatable. Jess Godwin as April, is the show's last stop. Her portrayal of an awkward bachelorette is sure to make everyone laugh. 

"Company" concludes on the bittersweet song "Being Alive" and while Thom Miller's performance as Bobby is a little uneven throughout, he brings a lot to the cathartic final number. In one song, the musical goes from odd-ball romantic comedy to a philosophical question about the nature of long term love.

Writers Theatre in Glencoe is rightfully proud of their new space designed by Jeanne Gang. "Company" is presented as part of their Inaugural Season. The show, like the space is sleek, stylish and sexy. William Brown's production will likely be remembered as a definitive presentation of this not-often produced Sondheim classic. With more space, it’s nice to see a show at Writers with some breathing room. 

Through July 31st at Writers Theatre. 325 Tudor Court, Glencoe. 847-242-6011.

One thing for sure - there is no shortage of shows to see in Las Vegas. Home to some of the most dazzling production shows, Broadway-esque musicals and magic acts, The Strip is sure to entertain, finding something for just about anyone, including music lovers of all varieties. As the other shows go, when it comes to live music, choices also span widely from resident acts such as Donny and Marie to Celine Dion, and though fantastic shows in their own right I’d be more than hard pressed to find a more action-packed show than The Australian Bee Gees performed at Excalibur Hotel and Casino. 

One of the most outstanding tribute shows ever assembled, this outfit does the Bee Gees right. In fact, Barry Gibbs’ own mother quoted her son as saying the AGB is the best in the world at what they do. And who can really argue with that? After watching their show I sure can’t. 

Set in an intimate theatre that probably holds less than three hundred people, fans are able to get an up close and personal experience to the music of the Brothers Gibb. Barry, Maurice and Robin Gibb are wonderfully played by Matt Baldoni, Wayne Hosking, and David Scott who perpetuate the famous band’s legacy with an enormous amount of respect, talent and excitement. This engaging, hit-filled show is broken down into different periods taking on the earlier triumphs of the Bee Gees before heading to their later, and probably most influential, years when Saturday Night Live was all the rage. With a comprehensive catalog of material hitting on love ballads like “How Deep is Your Love” and “Too Much Heaven” that are nearly guaranteed to bring out the romance in everyone, the set also lets the crowd get their boogie on with popular disco faves “Stayin’ Alive”, “Tragedy”, “Jive Talkin’”, and “You Should Be Dancing”, even transforming part of the venue into a dance club for the last handful of numbers. 

In their heyday, it was probably difficult to find someone who did not own an LP or 8-track of a Bee Gees album. Many of us have grown up with the band’s music that still holds a dominant place and influence in today’s world, making this show an exciting trip down nostalgia lane. And for those who did not, I envy their experience of discovering this music in such a fun and unique way. Immortalized in classic films, still played regularly in radio rotations, the music of the Bee Gees always takes us back to one of the most memorable periods of pop culture, highlighting the ever so groove-laden, bell-bottomed, big collared, gold medallion-hanging-over-open-chest disco era. Yet, we cannot overlook the incredible talent involved in writing and performing the music that made them famous, making The Australian Bee Gees show all that more impressive as they handle the vocals and instrumentation with amazing precision while infusing the perfect amount of energy and personality into their act to create this rare show opportunity. In other words, they wholeheartedly capture the spirit of the Bee Gees. 

Owned and operated by David Scott, Wayne Hosking, bassist Tony Richards and Michael Clift (who also performs as Barry Gibb), The Australian Bee Gees are not only a successful Las Vegas act, as they are well into their fifth year to performing for packed houses at Excalibur, they are also a popular international touring group. How can they tour while playing six nights a week in Las Vegas? Easy, by rolling out more than one band. In fact, they even have a third outfit assembled for good measure. That said, The Australian Bee Gees success is world wide. It also helps that people from all over the world attend the band’s Las Vegas’ shows, adding to their already large amount of world-wide exposure, a segment of the show proudly paying homage to the homelands of their audience members in a uniquely fun fashion. Outside of their current Las Vegas home, the band has also had residencies in other parts of the world including a six-week run at The Broadway Playhouse in Chicago. 

The band formed just over twenty years ago when “the guys” played in various cover bands and original projects throughout Australia upon realizing that no one was doing a Bee Gees tribute. Thinking it could be a challenging project and having an obvious appreciation for the music, the musicians gave it a shot and clicked immediately. Testing the waters the ABG’s booked some shows in China and after three weeks of sold out shows in Hong Kong, it was apparent they were on to something special. After their inaugural tour success, the band quickly flew back to Australia and put an entire show together based on the One Night Only concert (The Bee Gees one and only concert). Since, it has gradually snowballed into what it has become today - a fantastic tribute to an iconic band where fans around the world can relive the magic of The Bee Gees - a band that has performed in over forty-five countries.

Though their initial success caught on overseas, the band still had to conquer America. The Bee Gees certainly achieved a great level of success here and that naturally played into their favor. However, if any trepidation existed amongst the ABG members, it was unwarranted as Americans welcomed them with open arms. Wayne proved to be correct when he said, “If you can make it in Australia, you can make it anywhere”, referring to the band’s rather tough home audiences. 

The band describes the Bee Gees music as universal and timeless so much so that they cannot fit enough hits into one show. In seeing the AGB’s live, it is evident the band members are not just going through the motions but rather are playing with a true love and enthusiasm for the music - something the audience feeds on rabidly.  

When asked the band’s favorite song to perform they quickly agreed that they often have a special moment with the audience when playing “Words”, as fans sing along with the ballad word for word - even in countries where English is not widely spoken. Though many songs head the list of favorites, the band also explains that set lists are changed depending on where they are playing. For instance, what may be popular in Germany, may not be as popular in other parts of the world. Another example would be the popularity of Spicks and Specks, The Bee Gees breakout number one hit in Australia that, over there, compares to the popularity of Stayin’ Alive here in the States.  

Family-friendly, edgy and brilliantly performed, this is a show that can be enjoyed over and over again. Catch the fever - the Saturday Night Fever - and pass it on - it’s contagious.      

As a heads up, here are a few things one might expect at an Australian Bee Gees show - lots of toe tapping, hand clapping, dancing (whether at your seat or a few feet over at “Club Mo”), humor, the likeness and sound of The Bee Gees remarkably revisited and and all around experience where you will leave knowing that you just attended one of the most energetic and memorable shows on The Strip. Tickets are priced at an ultra reasonable $49.95-$59.95, making this not just one of the more affordable Las Vegas shows but one of the best overall values. 

As I sat down in my second row center seats in Planet Hollywood Casino Hotel and Casino’s Saxe Theater, the couple next to me told me excitedly that they had seen Vegas! The Show as VIP's to meet the cast afterwards ten times! This lovely couple in their early sixties from the Midwest said that they return to the show every year and even have favorite cast members that they hope will be in the constantly evolving large cast.

The show starts off in what appears to be a dark warehouse filled with a slew of large, worn hotel and club signs once brightly shining to dazzle the Las Vegas crowds. Enter “Ernie” the maintenance man. Ernie addresses the crowd, telling us about Vegas’ golden era when the likes of Frank Sinatra, Dean Martin, Sammy Davis Jr., Ella Fitzgerald and Lena Horne were in their heyday, entertaining audiences and setting the unachievable standards for future Las Vegas stars. Ernie reminds us that these were the days when women would attend shows in fancy dresses and dapper gentlemen arrived in well-tailored suits or tuxedos as opposed to today’s show-goers that arrive in shorts, sandals with white socks and t-shirts that ask “Who Farted?”. After a bit more reminiscing, he then takes us to yesteryear and we get a glimpse at what once was. In a blink of an eye, the stage suddenly transforms into a sparkling set full of life, dancers, and colorful lights. A full band appears as we are thrust into the magic of classic Las Vegas. Vegas! The Show beautifully presents a timeline of entertainment that makes stops from the 1940’s through the 1970’s, sets changing with the times as we hear one classic number after another. 

Refusing to allow any gaps in entertaining its audience, the show brings forth a variety of amusing acts front of stage during set changes from jaw-dropping juggling acts to an aerial balancing beam team that gets plenty of “oohs” and “aahs” from nervous crowd members. This show is simply oozing with talent and entertains with the best of them. It is no surprise this show has been named “Best Show in Vegas” many times during its five-year residency.       

I enjoyed this show from beginning to end. If you have a yen to see a little bit of everything Vegas is known for like tall, beautiful showgirl numbers, great personality impersonations of singers like Tina Turner, Elton John, Tom Jones, Wayne Newton, Sonny and Cher and Elvis Presley, this is the show for you. 

As impressed as I was with the singing voices of the various star impersonators I was also blown away by the large cast of well-trained energetic young dancers who filled every number with so much excitement and sexy surprises it was hard to decide which part of the stage to watch. 

This is a saucy, slightly sexy, but never raunchy respectful tribute to the historic performers and places that have made the history of Vegas what it is today, is a breeding ground for great talent.

There's also some humor mixed in with the great singing and dancing and although the costumes are sexy, I would not hesitate to take kids to this show. 

The most poignant moment of this very upbeat variety show came in the form of a slideshow at the finale as “Elton John” sang “Rocket Man”. The footage consisted of film clips of all the past great who have graced Las Vegas such as Liberace, Elvis and The Rat Pack before switching into a montage of all the hotels (Sahara, Frontier, Dunes, etc.) actually being leveled by explosives to make way for the new and modern Vegas we know today.

Filled with interesting history tidbits about Vegas yet never slowing down by literally filling the stage in this intimate 400-seat venue with old school, eye popping glamour, this really is a show to see with friends and family who'd like to experience a little of each of the great parts of Vegas just like one would at a buffet – by getting a healthy gander at so many fabulous themes in a single night. 

Tickets currently run at $79.99 for general admission though a VIP package is offer for just $20 more that assures seats closer to the stage. Showtime’s are 7pm and 9pm seven days a week. Be sure to add Vegas! The Show on your Las Vegas to do list.