Items filtered by date: November 2007

Slide guitarist Sonny Landreth and steel guitarist Cindy Cashdollar shared the same stage in a mostly duet performance. Sonny opened the show solo for four songs. He was then joined by Cindy Cashdollar.

Mr. Landreth’s performance was not disappointing. His playing style is quite unique. He wears the slide on his pinky finger unlike most players. This allows him three free fingers. He uses them to fret notes behind the slide. He can also switch between fretted and slide notes. Nobody really does this quite like him. Cindy played 3 different types of steel guitars lap style.

Landreth provided vocals on about one third of the songs, the rest instrumental. It was mostly original material with a few tasty blues covers. It was very nice to see two seasoned veterans at work. Sonny was in Joan Hiatt’s band a while and has shared the stage with Eric Clapton and a host of others.

Cindy’s credentials are too numerous to mention and was inducted into the Texas Steel Guitar Hall of Fame. Overall an outstanding performance.

My only criticism would be the mix clearly favored Landreth’s guitar. It was often hard to hear Cashdollar. Still highly entertaining to say the least. They truly saved the best for last. When they came back for the encore, it was the best song of the night. A beautiful piece dedicated to a fallen friend. Very nice indeed. Nice to see two musicians of this caliber come together for such and amazing performance.

"But how does one know if they've gone mad?" asks Alice of the elusive Cheshire Cat as he swings on a rail, hanging twenty feet off the ground. "You see, a dog growls when it's angry, and wags its tail when it's pleased," he answers. "Now, I growl when I'm pleased, and wag my tail when I'm angry." He grins and disappears, leaving a baffled Alice to contemplate the difference between madness and sanity, the similarities they share, and whether or not they might just be one in the same.

Set in the alternate world that exists beyond – or through – the parlor mirror, Lookingglass Alice is based on Lewis Carroll's sequel to the ever-familiar Alice's Adventures in Wonderland: Through the Looking-Glass. So instead of going down the rabbit hole, we literally step through the looking-glass into a dreamy (and sometimes nightmarish) world of opposites, nonsense, and whimsy, as if we too have dozed off after a game of chess and awake to find a new dimension waiting for us above the fireplace mantle.

With or without its befitting name, the Lookingglass Theatre couldn't be a more apt setting in which to tell this tale, with its open, industrial structure taking the viewer out of the space of traditional theatre and promising something more immediate and exciting.

Part children's entertainment, part Cirque du Soleil, part vicarious drug trip, Alice takes the audience on a journey simultaneously magical and dark, funny and frightening, alarming and calming, and above all, surreal. Characters have different proportions through the looking-glass, some excessively tall, some uncharacteristically small; one can run fast for hours and wind up in the very same spot from which they started; Red Queens float on umbrellas in the ocean; cats play with oversized balls of yarn (or is it you who are under-sized?); Alice spins so fast on a suspended hoop you don't know which end is her head and which are her legs – the visual equivalent of how both the audience and the heroine feel after their disorienting passage into the world within the mirror.

A very physical show, Alice is the sort of spectacle meant to be enjoyed by all types of audiences. Young children might be best left at home – the loud noises, confusion, and surreality of it all can be a little overwhelming – but it's undoubtable that physical feats like continuous two-person backflips, the lifting and balancing of actors as though they were weightless, and an anxious finale where Alice wraps herself in ropes mid-air and falls without hitting the ground will impress adults, teens, and kids alike.

Remarkably executed by a vastly talented five-person cast, Alice is less a play than it is an experience. It's colorful and unpredictable. What it lacks in plot, it makes up for in intrigue. Where it forgets logic, it remembers absurdity. You may run in place for ninety minutes and end up in the self-same spot, but you'll have gained a gleeful acceptance of your own madness and the insight that our world is not always as it looks.

Lookingglass Alice, directed by David Catlin, is playing at the Water Tower Water Works space at 821 N Michigan Ave through February 15th, 2015.

“Camelot” being presented at the lovely Drury Lane Theatre in Oakbrook had an interesting twist to it.  If you've viewed other Camelot versions such as the enchanting animated “Sword and the Stone”, or the impacting dramas

“First Knight” or “Excalibur”, then be ready for a unique mix of both.  The production opened with a young King Arthur conversing with Merlin, his mentor and friend.  Merlin portrayed by Jonathan Weir was witty and engaging as he and Arthur bantered back and forth in the forest.  Quickly the audience was laughing at Arthur's antics, played by Ken Clark, a seasoned performer.

The introduction of Lady Guinevere (Christy Altomare) to Arthur evolved quickly and in a blink of the eye they ruled as the King and Queen.  The scenes and time frames were a bit blurred, and I caught myself wondering what was happening several times.  An example was when Mordved played by Patrick Rooney was on the stage. Suddenly the adult son of the King appears and a large gap of time has elapsed.  When I caught on to who Mordved was, even while following closely it was hard to understand why he and his father seemed at war with one another.

Early on Lancelot (Travis Taylor) beseeched King Arthur to allow him to serve the throne sacrificially and faithfully. Being a warrior, attractive and kind man he secretly won the heart of Lady Guinevere.  During a heartfelt moment Mr. Taylor wowed the crowd with his voice after an encounter with his love, who of course belonged to another.  I would have loved to hear more songs bursting out, but the musical flavor in this performance could only be described as 'song speaking'.  No doubt Ken Clark and Christy Altomare did this beautifully throughout the performance and their interaction with one another was engaging.  Allowing my imagination to veer from what I perhaps expected, I needed to allow room for a different type of portrayal of the King.  

Although a good, fair and wise King, his manner more often than not, seemed a bit naive or it lacked an authoritative stance.  Yet because of this, one scene stood out like no other!

'The atmosphere was sober.  The King was honoring his worthy knights, Lancelot being among them. As Lancelot stepped forth to bend his knee before his King, it was as if the scene was in slow motion. Arthur wrestled with his emotion and anger, knowing of the stifled relationship that Lancelot and Guinevere desired.  Quickly a picture of this Knight's demise entered his mind's eye.  Just as quickly the man he'd become was victorious as he took his sword, and placed it on Lancelot's shoulder.'

It was stirring and well done.  King Arthur's declaration of integrity and strength revealed the truth of why it was his destiny to rule over a people!

The costumes and the manner in which the whole cast portrayed themselves was extraordinary for this era from the hair styles to the magnificent sword fights.  'Camelot' definitely was enjoyable and entertaining despite the incites I mentioned above.  

Camelot will be playing until January 4, 2015, so invite your friends and family.  For more show information, visit www.drurylaneoakbrook.com.

Every time I think the talented cast of players and directors performing at Marriott Theatre’s intimate theatre in the round have done the very best they can, they top themselves again.

This production of the deliciously classic Rodgers and Hammerstein musical about a spunky, intelligent teacher who is recruited from England to teach the children of an arrogant but struggling King of Siam directed with precision and compassion by Nick Bowles was hands down the finest, most soaring yet intimate production of “The King and I” that I have seen in years.

Heidi Kettenring as the show’s star in Anna has more than a fine singing voice for the piece. Kettenring infuses the character with humor, strength, compassion and a feminist fury which reaches its peak of expression in the hilarious and still modern song, “Shall I Tell You What I Think of You?”

“All 
to remind you of your royalty,
I find a most disgusting exhibition.
I wouldn't ask a Siamese cat
to demonstrate his loyalty
by taking this ridiculous position
how would you like it if you were a man
playing the part of a toad.
Crawling around on your elbows and knees.
Eating the dust of the road!...”

New York actor Andrew Ramcharan Guilarte, does a wonderful, sexy and layered performance as the King, never falling into predictable caricature.  Guillarte is a little bit younger than the King is normally played and it makes perfect sense that his character is both falling in love with the educated and mature teacher Anna and also confused by his growing sense of bewilderment at her grasp of political situations that improve the destiny of his own family and finally, his entire Kingdom.

The romantic and sexual chemistry between Kettenring and Guillarte is absolutely dynamite and had the entire audience breathlessly watching each explosive scene between this talented pair.

There is a very funny, yet revealing scene where the King is insisting that Anna’s head never be higher than his own. The King asks Anna to take dictation for an important letter to a visiting dignitary and sits down on the floor. When Anna finally sits down on the floor, the King moves to recline on one elbow and so forth till they are both completely reclining on the floor. Although, it is really a nonsensical demonstration of his manly power, Kettenring and Guillarte manage to make it a funny and sexy “shades of gray” type dance between two people who are each unaware they are falling in love with the other.

I am happy to see that almost all of the roles for the children and wives and concubines of Siam were filled by actors with a variety of different ethnicities. The children in this production are completely delightful to watch from beginning to end. Matthew Uzarraga, who plays the boy who would be King, does a fantastic job bringing his little tyrannical boy to life and when at the end of the show he pronounces that “excessive bowing to the King like a toad” is now forbidden, you really believe this child has learned something major from his now beloved teacher and friend Anna.

Kristen Choi as Lady Thiang knocks it out of the park with her stunning rendition of “Something Wonderful” and Joseph Anthony Foranda is a wise, organic presence. Shirtless like the King, he pulls off the role with quiet sensuality and power as the aging prime minister to the King Kralahome.

Nancy Missimi went all out with the costumes in this piece and I most enjoyed her costumes on the wives, children and concubines of the King. Their dance numbers were wonderfully choreographed by Tommy Rapley and together with Ms. Missimi’s costumes and Tom Ryan's royally glowing set design, the dance numbers reminded me of barefoot dancing flowers, like multicolored orchids and floating water lilies come to life onstage.

I get totally spoiled when seeing a well performed Rodgers and Hammerstein musical because the lyrics for every song are so unique and memorable. “We Kiss in a Shadow” was beautifully sung by Megan Masako Haley as the King’s unwilling young captive, Tuptim, who is in love with another.

“To kiss in the sunlight
and say to the sky:
"Behold and believe what you see!
Behold how my lover loves me!"

And Devin Law as Lun Tha , Tuptim’s secret lover, also performed the classic “I Have Dreamed” to perfection.

“I have dreamed that your arms are lovely
I have dreamed what a joy you'll be
I have dreamed every word you whisper

When you're close, close to me
how you look in the glow of evening
I have dreamed and enjoyed the view

In these dreams, I've loved you so
That by now I think, I know
what it's like to be loved by you
I will love being loved by you”

I can’t speak highly enough about how all of the elements in this production came together to create such an educational, yet romantic,  touching and funny evening of pure  theatrical delight, including the  fantastic, organic choreography by Tommy Rapley and Ryan T. Nelson’s exquisitely detailed musical direction.

Take your children and your grandparents, or even your first date to ‘The King and I” at The Marriott Theatre in Lincolnshire with confidence that you will all equally enjoy a magical night of classic entertainment performed at peak quality for modern times.

For more show information, visit www.marriotttheatre.com.

Instead of spending the night in watching “Dancing with the Stars”, “So You Think You Can Dance”, or even “American Idol”, there is a stage where you can experience the costumes, the beauty, and the grace of live ballroom dancing and competition with the control of the vote in your hands at the Cadillac Palace Theater and “Dancing Pros Live.”

The backdrop of the intimate and classical theater was an ideal location for guests to feel part of the all ages appropriate show.  For those who are familiar with our ever growing passion for reality television and fantastic performances, this was an interactive experience not to be missed.  Hosted by Alan Thicke (whom we all know and love from ‘Growing Pains’) and Joanna Pacitti (an “American Idol” Alum, who treats the audience to a few songs, also joined on the stage by Angel Taylor from “The Voice”) the show follows a format we have all come to know and love; 5 couples are competing for the title of “Dance Pros” through 2 rounds of ballroom dance (Interpretive and Technical,) the winner is then determined and awarded the title based on the collected and tallied audience vote. 

Although some of the names of the performers may be familiar to our dancing fans, like Judges Edyta Sliwinska from DWTS and choreographer Oscar Orosco (You Got Served,) dancer Chelsie Hightower from DWTS, as well as top 6 finalist Ryan Dilello from SYTYCD;  The other featured performers are not to forgotten, as all are finalists and title holders themselves within the ballroom dance world (television and competive); Regina Maziarz a US 10 Dance Champion, Paul Barris winner of Latin American DWTS, Antonina Skobina the 2012 US National Champion are just to name a few.

Before each competitive dance by the 5 competitive couples, the audience experiences 3-4 different tableaus of each dance style featured (cha-cha, samba, foxtrot…) and then watch each couple perform 2 routines.  Based off of short interviews given of each couple, come together as long as 8 years and others as short as 24 hours, these dancers compete to win the audience’s vote.

For those who love dance, reality television, those who are interested in finding out a little bit more, or even if you just love voting for your favorite performers from home, Dancing Pros Live is an event and experience that every couple can enjoy or even the whole family can get into.

One could only picture what would have happened should four of the greatest rock and roll pioneers ever stepped foot in the same studio at the same time. And just imagine if the above referenced were Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash. Well, one winter afternoon in December of 1956, that’s exactly what occurred when these four music trendsetters met unexpectedly at Sun Records in Memphis, Tennessee. Though no one really knows all the details of what happened during that meeting, most are quite certain a jam session like no other took place, later earning the four the nickname “The Million Dollar Quartet”.

Currently playing at Harrah’s Showroom at Harrah’s Hotel & Casino in Las Vegas and at the Apollo Theatre in Chicago, Million Dollar Quartet brilliantly takes its audience into the Sun Records studio where it combines theatre with a truly entertaining rock and roll show. Filled with jaw-dropping singing and instrumental feats, Million Dollar Quartet in fact conveys the excitement of mid-1950’s rock music while at the same time providing viewers with a good feel for the time period itself. Let’s focus on the Las Vegas production, which is certainly on par with Chicago’s.

Million Dollar Quartet does not require elaborate set changes, taking place entirely in a recording studio (Sun) converted from an auto parts store. The show makes its mark as one of the hottest shows on stage thanks to its amazing musical performances, well-defined characters and a storyline that perfectly delivers the enthralled, but forceful supposition of “What could have been?” The story also points to the importance of Sun Records and their impact on the music world, mainly owner Sam Phillips (superbly played by Marc D. Donovan) and his ability to recognize and shape the talent of each recording artist, by having them reach inside themselves.

What contributes greatly in making Million Dollar Quartet so special is the incredible cast they managed to assemble. Not only does the Las Vegas cast deliver the personality traits and behaviors of each, including Jerry Lee Lewis’ dancing eyebrows and Elvis’ sneers and unique body language, but it is each actor’s ability to convincingly sing as their character along with their musicianship that takes this show to a much higher altitude.

At times, Martin Kaye literally makes the audience forget they are not watching the real Jerry Lee Lewis with his maniacal piano playing intertwined with the showmanship that helped the rockin’ pianist become famous. Robert Britton Lyon’s sizzling guitar licks and strong vocals makes a highly believable Carl Perkins, while Benjamin D. Hale nails Johnny Cash with spot on singing and his ability to capture his live qualities. Justin Shandor who first stuns the crowd with his accurate rendition of “That’s All Right” and then later seals the deal with a classic performance of “Hound Dog” plays Elvis Presley. The cast is rounded out by studio session players Fluke (Mark Ferratt) and Jay Perkins (Josh Jones) who are a show worth watching in their own right, and Felice Garcia plays Elvis’ Girlfriend Dyanne that joins in the jam session with a couple songs of her own including an inspired version of “Fever”.

Million Dollar Quartet starts off with a bang with “Blue Suede Shoes” and then continues to highlight memorable songs from each performer including “Folsom Prison Blues”, “Who Do You Love”, “Great Balls of Fire”, “Peace in the Valley” and many more. A good mix of concert and theatre, the show is heartfelt, entertaining and will be sure to leave a lasting impression, not to mention have many go searching through their record collection when they get home. This is definitely a show you want to check in while in Las Vegas that embodies rock n’ roll fun throughout and ends on a high note with its dynamic ending as a big Las Vegas show should.

Million Dollar Quartet is currently playing at Harrah’s Showroom in Las Vegas, the Apollo Theatre in Chicago and is also touring nationally. For more information visit www.milliondollarquartetlive.com. 

I have a tough time reviewing magicians because I don’t want to describe the tricks in detail and ruin the suspense for future audiences.  I will just say that my partner and I were seated in the front row right in the center next to the stage and still could not tell you how ANY of Copperfield’s amazing illusions were done, including making about 12 audience members disappear at once!

I loved that all of David’s magic assistants onstage were men!  I have always found the scantily clad female assistants in most magic acts to be a sexist distraction but in this case the casually dressed and athletic young men who helped move all of the large equipment for each illusion around really moved the show along and gave the audience a feeling that they were in the middle of the action. Copperfield’s audience involvement was excellent, just knowing that at any moment you might be thrown a ball to catch or be plucked out of the audience to go onstage was a big part of the overall suspense factor in the show.  I won’t give away the illusion but there is one part of the show where David talks at length about missing his father who passed many years ago. This was a particularly well done and heartfelt illusion that everyone in the audience could identify with.

I have mixed feelings about the use of an adorable live duck in his show only because I feel so many lesser performers will attempt this and end up hurting or abusing their show animals long term. It was a brief part of the show and should probably be phased out in favor of his many new and exciting illusions.

David is a master magician and there is a reason that he can still pack ‘em in. Considered one of the world’s best illusionists, David has been a favorite act at the MGM Grand in Las Vegas for several years running and there is no reason to believe he won’t continue wowing Vegas tourists for years to come. There are several moments in David’s show that bring back the awe and wonderment that one may not have experienced since being a child.   

Overall, this was a family friendly and exciting magic show that will amaze and stun magic lovers of all ages. A recommended stop while visiting Vegas’ Strip, David Copperfield will not disappoint.  With Lance Burton now retired from his long-running gig at the Monte Carlo, Copperfield clearly stands alone as the best magic act in Las Vegas.

For a fun night of mystery and the unexplained, be sure to catch David Copperfield at Las Vegas’ MGM Hotel and Casino. David does not perform at MGM week in and week out so you’ll need to first check his schedule out at  http://www.mgmgrand.com/entertainment/david-copperfield.aspx. Show tickets are just north of $100 and there are also meet and greet tickets available for an extra cost for those who want more intimate access to the living legend.   

Griffin Theatre Company has taken on the feat of recreating the Tony Award-winning musical Titanic. Launching this production in a much more intimate space at Theater Wit, the audience gets a real close up feel to the action and is able to capture the bevy of emotions delivered first hand. Scott Weinstein directs Griffin’s Titanic with intensity, giving this production a true feel of tragedy and humankind.

We are all familiar with Titanic’s maiden voyage that where the luxury passenger liner launched from Southampton, UK and sank in the Atlantic on April 15^th 1912 after hitting an iceberg on its way to New York City. In Peter Stone’s Titanic, we join the excitement prior to the ships fateful launch where the ship is boasted as the largest and fastest passenger sea vessel that also comes with the tag “indestructible”. Families, friends and crew members are giddy with enthusiasm and anticipation as projected so well in the show’s magnificent opening number “In Every Age”. After Titanic’s triumphant departure, we are taken to both the luxurious world of the ship as well as that of the lesser class. In its five day voyage, we are taken to ballroom extravaganzas, fine dining and also to the far less glamorous galleys and crew quarters.

All the while the good Captain Edward Smith and First Officer William Murdoch look to steady the course but do so under the pressure of ship owner White Star Line to increase its speed in order to break the speed record to cross the Atlantic. Finally, on a dark and quiet night, lookout Frederick Fleet notified Murdoch of an iceberg due ahead, but it was too late to maneuver, the ship receiving a 300-foot gash in its side, doomed to sink in the frigid waters. In all the panic and commotion we learn that there are only enough lifeboats to save a third of the ship’s passengers. Ultimately only 700 or so of the Titanic’s 2224 passengers would survive, the rest condemned to a watery grave.

In Griffin’s Titanic, we get a real sense of devastation after what is at first denial (after all they are on an indestructible ship). We see the blame game shifted between architect, White Star Line and the Captain. It is an interesting dynamic as we see both unbridled selfishness and unselfishness between the passengers as some are intent on saving themselves while some are more interested in trying to help others.

The set, though simple, converts well from ship deck, to dining hall and living quarters, to ship exterior. The music is strong and heartfelt (also newly reworked). Many numbers are memorable, seizing the essence of the situation so very well such as “I Give You My Hand”, “To Be a Captain”, “I Have Danced” and “God Lift Me Up”. We also get a number of excellent acting performances in the large cast of twenty, making this a very solid production that has everything you would want in a musical tragedy.

Griffin Theatre Company’s Titanic is a high seas adventure you will not soon forget. It’s a big show in a smaller theatre. This warm and stunning production is being performed at Theater Wit (1229 W Belmont) through December 7^th and tickets are priced at a very worthwhile $39. For more information, you can visit www.griffintheatre.com. 

When you think of Las Vegas many things come to mind – gambling, bright lights, monstrous hotels and casinos to which one can easily get lost, glamorous showgirls, dry heated air, the Bellagio fountain, The Rat Pack, Bugsy Segal and Seigfried and Roy. But maybe the largest association one has with Vegas is none other than the King of Rock and Roll, Elvis Presley himself. After flopping in Las Vegas during the 1950s (they just weren’t ready for rock n’ roll), Elvis returned with a vengeance in the late 1960s and had several highly successful years as a residency and touring act until his death on August 16^th, 1977.

Since the King’s passing there have probably been more Elvis impersonators than one can count, and though most may go unnoticed, Trent Carlini does not. Formerly known as the Las Vegas Hilton where Elvis performed with regularity, Carlini currently performs an amazingly inspired tribute at what is now called Westgate Las Vegas Resort & Casino. Known as one of the best Elvis impersonators in the business, Carlini does not disappoint.

Set in the Shimmer Cabaret, a 350-seat theatre, fans are treated to a very intimate Elvis experience that is a true celebration of Elvis’ life and music. Trent Carlini packs an accurate, and highly entertaining, musical chronology into his 75-minute show that starts with Presley’s earliest hits like “Blue Suede Shoes” and keeps on rolling through the 1970s. Touching on the movie years, we hear classics like “Rock-A-Hula”, “G.I. Blues”, and of course “Viva Las Vegas”, before Carlini appears in that famous leather suit for some ’68 Comeback Special action. Carlini also dons Elvis’ legendary white suit for an emotionally stirring rendition of “If I Can Dream”.

“The King starring Trent Carlini” gives audience members a taste of Elvis Presley’s music in a way many thought could not be done. Carlini’s vocal ability to sound like Presley is haunting, his likeness almost uncanny at times, his movements right on and he even captures some of the late legend’s renowned charm whether it be in joking with the crowd or letting off a simple impish grin. Band members play along with Carlini but are not exposed until a few songs in, adding another dimension to the show. Expect a good amount of audience participation, as Carlini prods the crowd to sing along on occasion (or on their own!), invites the ladies to step up to the stage for a kiss, personally greets a good amount of the crowd during “Love Me Tender” and later passes out scarves to the adoring women in true King fashion.  

With each period of Elvis’ life, Carlini sports the proper attire from Presley’s Lansky collection to his well-known jumpsuits (complete with karate demonstrations). We get a little history lesson along the way though the main focus is on the music, as it should be in a tribute show. Pumping out the Elvis faves like “Hound Dog”, “Jailhouse Rock” (one of Carlini’s self-proclaimed top choices), “Burning Love”, “Can’t Help Falling in Love” and “The Wonder of You”, fans leave the theater feeling as though they got their full dose of Elvis-mania. The show concludes on an apropos note with Carlini’s powerful version of “American Trilogy” that really gets the goose bumps going. Carlini hits the song’s final note with precision and might – a note that so many other tribute artists substitute with a lower octave.

There is a huge variety of shows to see in Las Vegas, but this is one that should be on your must see list, Elvis fan or not. It is a show for all ages and one that anyone who likes to rock can enjoy. “The King starring Trent Carlini” is completely entertaining and thoroughly engaging. Trent is one of the best in the business and what better place than to relive, or get a taste of, the musical performance of Elvis Presley.

“Thank you. Thank you very much.”   

Cirque du Soleil has innovated the circus as we once knew it and has transformed it into something that has become so more visual, musical and exciting than ever could have been imagined. While some Cirque shows are set to a particular theme such as the music of the Beatles or Michael Jackson or perhaps an epic Asian battle or even a water spectacular, Zarkana is different than most as it focuses on three ring circus acts that we grew up with, likely beneath a large tent.

Zarkana is performed center strip at Las Vegas’ Aria Resort and Casino inside a massive, and very beautiful theatre. Prior to the show, some of the 70-plus cast members from around the world are sprinkled throughout the venue interacting with people searching for their seats setting an exciting tone for what is about to come.

Each circus act brings out another gigantic set and bevy of creative costumes that are full of imagination with colors and movement that transcend the audience to another world for ninety minutes. Bringing to the forefront such fantastically traditional circus feats such as walking the high-wire, balancing acts, death-defying flying trapeze stunts and mind-boggling juggling, Cirque intensifies the experience of each with hypnotic music, amazing visuals and often incorporates its rich Vaudevillian humor.

Oohs and aahs are heard across the auditorium as acrobats fly overhead, performing maneuvers that can only be found in one’s deepest imaginings. Dream like motions are brilliantly blended with dangerous stunts that sometimes will have one on the end of their seat. An ingenious cast of characters are as colorful as they are funny. Zarkana is a show that can appeal to just about anyone’s sense of adventure.

Of the many acts performed, the Wheel of Death was probably one that caused the most amazement. The "wheel" is actually a largespace framebeam with hooped tracks at either end, within which the performers can stand. As the performers run around on either the inside or outside of the hoops, the whole apparatus rotates. The performers also perform balancing skills with the wheel in a stationary position. As the device spins faster and faster the stunts become more intense. Another stand out act was the Cyr Wheel. This is where acrobats rolled around the stage within large hoops while performing all kinds of mind-blowing tricks.

Each act was remarkable in its own right and opened one new world of imagination after the next. Whether an eight-year-old kid or a seventy-five year-old kid, Zarkana is certainly a sight to be seen and an experience you will not soon forget.

A Las Vegas show not to be missed, Zarkana has two performances each evening (7pm and 9:30pm) Friday through Tuesday. Tickets currently run between $69-$180 and can be purchased at 855.ZARKANA or by visiting http://www.aria.com/cirque/zarkana.