He especially wants to live near his horse stables. “I built it, and I built it for the loves of my life, and I’m not talking about my family, but my horses and antique car collection, which bring back such incredible memories.” “We’re deciding what we’re going to do with it, move back, open to the public or sell it,” he says. As he said during our recent episode of PodKats!, he and his family might live at Casa de Shenandoah. 30, on sale.Īnd, keep watch of Newton’s movements during that run. Newton and the hotel have already put his next set of dates, from July 22 through through Dec. The hip replacement is expected to be far less of a concern than his spine surgery that forced him to miss most of his May shows at Cleopatra’s Barge at Caesars Palace. Wayne Newton is due for more medical attention, with a right-hip replacement surgery set for the first week of July. The show’s pricing is more in line with “Wow” and “V,” neither of which boast a show-closing Wheel of Death act.Īs for that number, you’ll still find it in “Ka.” But that’s at MGM Grand, long way south on the Strip, and it costs a whole lot more. “Celestia’s” most persuasive selling point is that it’s Cirque quality on a budget, starting at $29 without fees up to a top price of $89 (up to four times less expensive that Cirque’s non-discount rates). Not unnoticed as “Celestia” opens, the “Fuerza Bruta” tent at Excalibur is being hauled away, numbing evidence that even great, tented, acrobatic-themed shows can falter on the hyper-competitive Strip.
Strat officials are justifiably proud of the venue, joking that its new production is the longest-running tent show in the city one remarked to to me that’s because that show’s Spiegeltent isn’t really a tent. The show employs a live band and the sound is refreshing and refined. The lighting is terrific, and videos played on the tent’s surface impressive. The grandiose, 30,000-square-foot tent provides a genuine, circus atmosphere, even as the air conditioning is no match for 100-plus-degree temperatures, and high-rising metal pillars on either side of the can block your view. Those acts, or numbers that are undeniably similar, are also routinely displayed in “Absinthe” at Caesars Palace, “Opium” at the Cosmopolitan, “V - The Ultimate Variety Show” at V Theater at Miracle Mile Shops at Planet Hollywood and “Wow - World of Wonder” at the Rio (“Celestia” uses a bow-and-arrow act “Wow” closes with Silvia-Siliva’s own death-defying archery routine).īut even in the face of the similarities to those shows, “Celestia” is a lot of fun to experience as its primary characters embark on a celestial path filled with dazzling acrobatic performances, though I suggest not getting tied up in any storylines.Ĭertainly, it’s an ideal show for all ages. While those acts might not have been invented by Cirque, they have been advanced and performed prominently in the company’s 25-year history on the Strip.
The employment of the high bar, frequent use of trapeze, and aerial silks are all familiar among today’s Las Vegas stage shows. The show has developed several human-balancing and contorting acts. Impressive, but boy-howdy, have we seen this before. That early act in “Celestia” was indeed flexible high bar, with a female acrobat being catapulted airborne by two chiseled gents operating the apparatus. When “Celestia” trotted out its opening number, on a stage that looked like a vast oil-painting, I was reminded of the original delight of “Mystere.”Įver since, Cirque has set the bar high, metaphorically and artistically. The first Cirque show, and among the first production shows I’ve seen in Las Vegas, was “Mystere” in 1996. “Celestia,” the tented wonder at The STRAT, carries an inescapable similarity to the Strip’s predominant production company. One is, if you roll with the Wheel of Death, you invite comparisons to Cirque du Soleil. There are a few absolutes in Las Vegas entertainment. A scene from "Celestia" at The STRAT on Thursday, J(G Creative Advertising)
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