Club Vegas is a fulsome variety show that would be quite at home on casino stages around the world. It combines modern interpretations of hit songs with rolled gold classics and colourful, bejewelled, bedazzling costuming with feathered headdresses to die for. Quite the spectacle. I couldn’t get enough of it. The dancers take to the stage from the get-go and end with a flourish.
The canned music medleys with changing digital backdrops cover Carnivale and Latino, J. Lo and Tina Turner. I preferred seeing and hearing the singers in the flesh, so to speak. Foremost amongst them is the smooth voiced Jonathan Guthrie Jones. He is a huge crowd pleaser incorporating the likes of Mac the Knife, Danke Schoen and New York, New York. His opposite number, who also makes her mark, is J’aime Holland.
But lest you think that is all to Club Vegas, I am here to tell you otherwise. Variety, is indeed, the name of the game and it seems the bigger is better. Look out for giant swans on the balcony boxes, stage left and right. A massive silver stiletto is a prop you won’t forget in a hurry, nor a gigantic merry-go-round horse that makes an appearance after interval.
Gino Starr (comedian James Liotta) is a good-natured Italian character with some corny lines and warm audience interaction. That includes dipping his lid to furniture king Franco Cozzo. A buff Russian artist named Sacha is a master at hand balancing and on a moving aerial pole. Drag artist Fabio Cattafi turns head and is front and centre in the Tina Turner medley.
An extended routine in Act II involves illusionist Sam Powers and his assistant Alycia. While his magic is good, my personal highlight came when a delightful, randomly chosen audience member took to the stage with him. She played along beautifully.
Club Vegas – The Spectacle is a licorice all sorts that puts smiles on faces and has toes tapping. It is on at Athenaeum Theatre until 2nd September. It will next play at The Star Gold Coast on 14th October, 2023.
Alex First
Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
