16 minute read
FEATURES
By Kiko Miyasato
Photo by Christopher DeVargas
Stadium Swim Model Cocktail Server Lindsay Lanouette
Circa Resorts & Casino cabanas and daybeds can be booked online at circalasvegas.com/ stadium-swim or by calling 702.247.2258 can be booked online at circalasvegas.com/ stadium-swim or by calling 702.247.2258
Stadium Swim at Circa Resort & Casino is a big winner when it comes to a day at the pool
It’s not uncommon for your jaw to drop when you walk through the glass doors out onto the upper level of Stadium Swim and are fi rst hit with the sheer size and scope of the pool complex. “Stadium Swim—it’s surreal,” says EJ Stagner, director of Stadium Swim at Circa Resort & Casino. “It’s an environment that Vegas has never seen before.” ’Tis true. Let’s start with the 40-foot-tall, high-defi nition screen that is continually displaying sports, as well as sportsbook stats through its 14 million pixels. Then let’s talk venue. With a capacity of 4,000 people, it has three levels fi lled with 30 roomy cabanas, 337 chaise lounges, 38 daybeds, two owner’s suites (which fi t 25 people!) and six pools. Live DJs play top 40 tunes throughout the day, and there’s a ginormous food and cocktail menu. Swim-up bars, living-room-type setups that sit on a ledge in the pool and a walk-up bar with frozen cocktail concoctions round out the o erings.
Then there are the hours of operation. Stadium Swim is open day and night and doesn’t take a day o —it’s open 365 days a year. But wait, you ask: Doesn’t it get pretty cold here during the winter? Not an issue, as cooler weather changes Stadium Swim’s pools to giant Jacuzzis, heated to keep folks nice and warm. “In the winter, where every other pool is closing, we’re still open,” Stagner says. “We basically have six huge hot tubs. With the sports, college football, NFL, it’s a great place to come and watch the games.”
Stadium Swim is 21 and over, so there are no kids running amok; and Stagner says it’s a great spot for those looking to celebrate with a bachelor or bachelorette party. “It’s defi nitely di erent,” he says. “It’s a great experience. I think it provides, not only downtown but Las Vegas in general, a great place for both locals and tourists. It really gives you the best of both worlds— if you just want to come for the pool party and experience that or for sports fans, this is really the only place in Vegas, in the country, to really experience watching your team.”
Magician Mike Hammer alternates between AMYSTIKA and his own show
Chicago-born magician and comedian Mike Hammer has been building his name in the Las Vegas entertainment scene for more than two decades, including his current 11-years-and-counting stint headlining his show at the Four Queens on historic downtown’s Fremont Street. His rapid-fi re delivery keeps audiences on their toes, then his sleight-of-hand skills astonish all. And now Hammer’s pulling double duty, cruising to the Strip most nights to perform as a primary cast member in fellow magician Criss Angel’s new AMYSTIKA—The Secret Revealed production at Planet Hollywood Resort.
WHAT IS IT ABOUT YOUR AFTERNOON PERFORMANCES AT THE FOUR QUEENS THAT HAS ALLOWED YOU TO SUSTAIN THE SHOW FOR SO LONG?
When I started, people weren’t rushing to go to Fremont Street then; it was more of a late-night thing. The afternoon was pretty empty. It was hard, but I’ve done really well since then. I have an edge to what I do, and I think right now there’s kind of a need for it, when people are getting kicked o Twitter every other day. I’m not vulgar but I do pick on the audience quite a bit and play o the crowd a lot. They enjoy it, but it took awhile to get to this point where people know I’m joking.
HOW DID THIS OPPORTUNITY OCCUR WITH AMYSTIKA?
Years ago, I became friendly with Criss (Angel) when he came to my show and really liked it. He asked if I’d go on tour with him with a show called Raw, and we went all over the country and Canada. Then he asked me to go when we went to do Broadway, and how can you turn that down? It was a really unique experience, and we had a lot of fun, and we always kept in touch. During the pandemic, when no one knew if our shows were going to open again, he told me he was working on this other show with Franco Dragone, and it was … another one of those opportunities you have to take advantage (of).
THAT SOUNDS LIKE A PRETTY HECTIC SCHEDULE, BOUNCING BETWEEN DOWNTOWN AND THE STRIP
By Brock Radke
Four Queens
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Planet Hollywood ticketmaster.com
TO PERFORM IN THESE TWO VERY DIFFERENT SHOWS.
These days, I have to really balance my time, because you do need a certain amount of energy for performing. Going from one to the other is a workout, and I can’t do it and still go out to every event in town. I have to limit that time and rest my voice, too. But in a way, his show is easier for me, because I am following more of a technical layout. In my show, I can play around with the time a little more, improvise o the cu , but on his show, while they do allow me a lot of freedom, I’m very aware of the timing because there are illusions that are very well choreographed, and I don’t want to screw up what the other characters and dancers are doing.
IMPROVISATION IS SUCH A HUGE PART OF YOUR PERFORMANCE, INTERACTING WITH THE AUDIENCE AND COMING UP WITH FUNNY REMARKS TO COMPLEMENT YOUR MAGIC. IS THAT SOMETHING THAT YOU TURN OFF WHEN YOU’RE OFFSTAGE, OR IS YOUR MIND ALWAYS GOING THROUGH THOSE MOTIONS?
Those things come to me quite easily, but I do have trouble turning it o sometimes. My brain is constantly working unless I’m at home relaxing. Since I was young, I always had this quick wit, and it felt like kind of a curse at fi rst because I would say whatever came into my mind. I had to learn to hone that as a craft and realize that you can’t just blurt those things out. My father was like that, he would say anything in public, and I always thought it was funny, but my family might get embarrassed sometimes. I think I picked it up from him, and I always loved Don Rickles and I think when I was younger, I was that guy in my head, thinking, “I can just rip on these people.” But the chemistry has to be right. It took years to perfect that, and now I can get away with pretty much anything.
Reckless in Vegas
Explore these hot spots to eat, drink and be merry
By Kiko Miyasato
This year marks 70 years that the northeast corner of Sahara and Las Vegas Boulevard has welcomed guests, although Sahara Las Vegas has changed names, owners and design throughout the years. It opened in 1952 as Sahara, hosting stars like The Rat Pack and The Beatles. In 2014 it rebranded as SLS Las Vegas, but by 2019 had been sold and the storied Sahara name was restored. This incarnation saw upgrades of posh bars, delicious restaurants, cool pools and more. Here, we’ve picked three of our favorite things at the reimagined resort and casino. Bringing vintage Las Vegas back to life, and back to the Strip, Reckless in Vegas offers entertainment that defined the city in the 1960s. The group, a three-piece band with lead singer Michael Shapiro, performs inside
the Sahara Theatre, where great names like Louis Prima and Bobby Darin once took the stage. The music is a combination of contemporary and classic tunes, and the group puts its own musical spin on songs from Frank Sinatra, Dean Martin, Johnny Cash, Sonny & Cher and more. Think of the bygone lounge act days where music combined with beautiful showgirls, comedic banter, strong cocktails and a lot of fun. Catch their show Thursdays and Fridays at 8:30 p.m.
From inside the casino, Azilo Ultra Lounge is hidden. Hint, there’s a door leading into the space from inside Casbar Lounge. Oozing Mediterranean-meets-bohemian vibes, this ultra lounge is a cool spot for cocktails and conversation. The space also spills out on to the Azilo Ultra Pool deck. Friday nights, those that love Latin beats will get the chance to shake their hips, and every Saturday night the musical format is a mash-up of ’80s, ’90s and Top 40 songs. We’d be remiss not mention the cocktail menu here. One of our faves: the
Azilo Ultra Lounge
Chickie’s & Pete’s pineapple margarita with Patrón Silver tequila, pineapple juice, lime juice, chipotle pineapple syrup, coconut syrup and a Tajin rim.
Since the late 1970s, the Philadelphia-born brand Chickie’s & Pete’s has served up its signature Crabfries—crinkle-cut fries with a side of creamy cheese sauce. Now Vegas guests can enjoy the classic treat along with sports viewing and a menu of upgraded bar food that mixes both land and sea on a plate. Throughout July, try the featured surf-and-turf burger with an 8-ounce smashed burger patty and fried shrimp. Other highlights include shrimp po’boy, Lisa’s blonde lobster pie and jumbo lump crab cakes. Or feast on snow and king crab legs, mussels, clams and oysters. There’s also a sports betting station and VIP pods for privacy.
Morrissey returns to Vegas for second round of ‘Viva Moz Vegas’ residency
By Matt Kelemen
Odds are, many planning to attend Morrissey’s second round of headlining shows at Caesars Palace were on hand for the debut of Viva Moz Vegas at the Colosseum in September. Morrissey delighted megafans who bought tickets for multiple dates of that engagement by mixing up the setlists rather than rolling out a rigid repertoire fi ve nights in a row. General admission tickets enabled dancing in front of the stage, hugs and autographs.
Morrissey has a special relationship with his fans. One biographer described him as The Picture of Dorian Gray in reverse, as in he slowly ages while his fans stay young. His older fans are defi nitely young at heart when they hear Smiths’ songs and early Morrissey material that dominated the soundtracks of their ’80s youths, and Morrissey did not keep them waiting long to launch into the reverberating rhythm of “How Soon Is Now?” during his last Las Vegas shows.
He’s connected with every sub-generation of disa ected misfi ts ever since, becoming a musical messiah to appreciative artists such as The Killers, who rode ’80s revivalism to mainstream success. He’s a living Oscar Wilde to an ever-growing family of fervent Mexican fans who fi nd solace and escapism in his romantic universe of wit and wisdom. He had no fi rm blueprint for success but took to stardom with an ease that made it seem destined.
Morrissey rose to fame with The Smiths in the early ’80s while the
8:30 p.m. July 6 & 8-9, starting at $79 plus tax and fee. Ticketmaster.com
band he started with Johnny Marr was still on an independent label, his trademark quiff and inimitable croon distinguishing him from contemporaries. In the U.S., they were considered exotic and underground, with albums only available via import and often snatched up by college radio DJs who played “Panic,” “Hand in Glove” and “Heaven Knows I’m Miserable Now” in heavy rotation. Morrissey’s early solo material from 1988’s Viva Hate and 1991’s Kill Uncle took the sting out of The Smiths’ breakup and set Morrissey on a course that has led to the release of 13 studio albums.
Moz is opinionated. Moz wrote a song titled “Bigmouth Strikes Again” that gets recycled for headlines by British tabloids when he makes controversial remarks. He also continues to make intriguing artistic statements. Electronic music, pedal steel guitar and the spirit of Jacques Brel were present and accounted for on 2020’s I Am Not a Dog on a Chain, while Morrissey sang through a dry, unprocessed microphone with a voice aging most gracefully.
That voice sounded amazing on songs from that album such as “Jim Jim Falls,” “Knockabout World” and “Love Is on Its Way Out” during Morrissey’s first five Caesars Palace shows. Much of the rest of his sets remain musical manna for the faithful. Just imagining “Everyday Is Like Sunday,” “Ouija Board, Ouija Board” and “Shoplifters of the World Unite” played live is enough to saturate the souls of Morrisey devotees with serotonin, let alone actually being there in front of the stage dancing like mad, wishing the night would never end.
Moments of discovery lie in wait at Bellagio Conservatory’s lush Jungle of Dreams
There have been some extended-stay guests hanging out in the Bellagio Conservatory & Botanical Garden, and they’ve been acting like animals. This is mainly due to the fact that the residents of the Conservatory’s Jungle of Dreams, who have come to Las Vegas to attend the coronation of their king, are indeed animals. A 34-foot-tall lion stands as the focal point of lush environs populated by guests including zebras, giraffes, monkeys, a spotted leopard, waterfowl, frogs and a black-and-white snake.
Jungle of Dreams, which runs through Sept. 10, also boasts a treehouse, walkover bridge, pond and an LED wall that Conservatory designer Ed Libby created experience-enhancing storyboards for. President and COO of Bellagio and Park MGM Resorts Ann Hoff found it spectacular as she took in the sights of the summer scene on the day of its debut.
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Indeed, the zebras look as if they are bursting forth from gilded frames. The lion is of noble bearing and holds court as pink flamingos pay homage nearby. Monkeys seem caught in mid-climb, while giraffes stand surefooted on either side of the bridge in the center of the rainforest.
Libby is enthusiastic about the many “moments of discovery” that await jungle dreamers who traverse the Conservatory. There is much to process from many different angles. At the most central point of the installation, on the bridge, he added bamboo guard railings, positioned so guests will intuitively be drawn to use them for steadying phone cameras.
They will also be drawn to the Conservatory’s newest permanent feature. “I’ve been talking about that video wall for six years,” says Libby, who made prototype videos for the spring show as a trial run of the new technology. “I’ve actually been using them more for events and stage shows. The idea is always, ‘What’s the new innovation in design? Where are we going to go?’ We got to a place where there was a curiosity and appetites for exploring this further.”
Libby’s team always seeks to take the lessons from the last project and apply them to the next, raising standards and confidence levels higher and higher. Director of horticulture operations Jessica Walker meets the challenge as well, creating innovative sculptural textures and complementing fauna with flora. Look for bromeliads and orchids in the shadows of the giraffes. Blackand-white patterned plant life in the zebra zone contrast strikingly with black elephant ears. Palms and philodendrons create a peaceful easy feeling around the pond.
Whether adding texture to sculpted animal life or creating their habitats, the botanical aspects multiply the moments of discovery. Of course, it’s important to remember the reason the animals have gathered at the Bellagio: a royal ceremony where vision and skills of a creative team make it easy to suspend disbelief.
Terry Fator’s Las Vegas journey continues at new, intimate venue
When Terry Fator took the stage of America’s Got Talent way back in 2007, no one could have predicted the trajectory his career would have taken. After all, it was just a man, a puppet and a trio of judges, one of whom obviously had no tolerance for ventriloquists. (We’re looking at you, David Hasselhoff!). Then Fator opened his mouth—er, rather, his puppet, Emma Taylor, opened her mouth, and out came the voice of Etta James singing “At Last.” Suddenly some of the judges resembled dummies themselves, mouths wide open in stunned disbelief.
He went on to win that season, and everyone knew he was on his way to significant fame. It made sense, as at the time, it was just a basic fact—no one could do what Fator could do; not only was he a world-class ventriloquist, he could throw his voice while singing! And not only that, he could sing in other people’s voices, specifically the voices of legendary musicians, everyone from Garth Brooks and Karen Carpenter to Bruno Mars and Meghan Trainor. It was an act tailor-made for Las Vegas, as it had all the elements of a classic Las Vegas show: The ventriloquist element, well grounded in Vegas lore thanks to legendary acts like Willie Tyler and Lester, Wayland Flowers and Madame, and even more recent acts like Ronn Lucas and Jeff Dunham. The comedy element, one that incorporates the cheesy, anything-for-a-laugh style that goes all the way back to The Rat Pack, Rodney Dangerfield and Don Rickles. The singing element, as almost every voice Fator generates has performed in Las Vegas—Elvis Presley, Elton John, Paul McCartney, Justin Bieber, Louis Armstrong, Ozzy Osbourne and so many others.
So began an incredibly successful run, first at Las Vegas Hilton (now the Westgate Las Vegas), for a year, followed by a $100 million, multiyear contract at The Mirage, complete with a performance space named for him.
But as every entertainer on the Strip knows, Vegas is a town that changes rapidly, and that extends to performers. Fator wrapped up his Mirage residency after 11 years in 2019, and was set to return to New York-New York right before the pandemic shutdown of 2020. However, he was also one of the first shows to return in late 2020, originally in the space now used for Cirque du Soleil’s Mad Apple and, now, in a new space ideally suited to the intimacy his show requires: Liberty Loft, located on New YorkNew York’s second floor.
Of his new show, titled, Who’s the Dummy Now? Fator said in a press release, “I am thankful to the MGM Resorts team for allowing me to perform at the resort, and am touched by the tens of thousands of fans who came out to support me this year. When we started to talk about Liberty Loft, I was thrilled to discover it affords us the opportunity to create the ideal viewing experience for my audience.”
No doubt Fator will continue to amaze and entertain a whole new generation of fans.
By Ken Miller | Photography by Tory Kooyman
