MacHomer Meets MacBeth in Los AngelesWritten by Don and Kim Tatera
Continued from page 1
A modern MacBeth interpretation calls for rock and roll, Wrestlemania, and other pop culture and media icons to be incorporated into a very well crafted, well directed and fast paced two-act play. Don't plan on commercials to grab an icy cold MacDuff and some greasy pork rinds since there's no intermission between two acts. I won't ruin climactic plot by giving you a step-by-step explanation, since that's what Cliff's Notes are for. You know, currently it's called theatrical preparation whereas it used to be mandatory for English Literature class in high school. Rick Miller's acting and vocal range is outstanding. Entertainment Weekly, calls him "one of 100 most creative and irresistible people who are on rise in showbiz." He quickly changes his tone, inflection and body language from one character to another with quick flip of a well-crafted Shakespearian verse and sonnet. Watch an episode of The Simpsons and take note of how many characters revolve around wacked out family from Springfield. Now, try to imitate and master just one voice similar to yours. Even better, imitate all characters from longest running show on television, and you're a winner. It was also quite interesting to hear Homer J. Simpson recite line and verse from Shakespeare with an old English accent. Not only is it very witty, but it's hysterical. This Toronto based actor/writer quickly jumps from one voice and personality to another faster than Sybil. Rick Miller is smooth, polished, and professional, and certainly makes MacHomer quite a memorable and fun theatrical event. After dramatic conclusion of MacHomer, crowd is further amazed as Rick Miller serenades audience with, 'We are World' sung by voices from The Simpsons. Then he sang his big finale, 'Bohemian Rhapsody' by Queen. As you would expect from this atypical theatrical production, this version is also not like original either. Rick sings this song as a benefit for Sally Struthers by imitating quite well many rock stars like Bob Dylan, Neil Young, Elvis Costello, Willy Nelson, Neil Diamond, Aaron Neville, Meatloaf, Ozzie, Julio Iglesias, and AC/DC as they each jump in to sing a verse. He's got rock star poses, prances, and expressions down pat. As if we didn't already think he was a talented genius who taught us that William ShakespearBook Your LA Hotel Onlinee can be both fun and educational at same time. Now that certainly is an oxymoron worth noting. To read this entire feature FREE with photos cut and paste this link: http://jetsettersmagazine.com/archive/jetezine/shows/zumanity/zumanity.html Kim and Don Tatera, Jetsetters Magazine Correspondent – Read Jetsetters Magazine at www.jetsettersmagazine.com To book travel visit Jetstreams.com at www.jetstreams.com and for Beach Resorts visit Beach Booker at www.beachbooker.com

Don and Kim Tatera, Jetsetters Magazine Correspondent. Join the Travel Writers Network in the logo at www.jetsettersmagazine.com Leave your email next to the logo for FREE e travel newsletter.
| | Midnight Fantasy Topless Revue at the Luxor Las VegasWritten by Rob LaGrone
Continued from page 1
There were two male performers in show; fortunately they wore more clothing than women. Sean Cooper showed some great dance moves, performing mostly solo but also briefly with female dancers, and he also did some pretty good singing impersonations - costumes and all—of James Brown, Sammy Davis, Jr., Michael Jackson, and Tina Turner. It was all light-hearted fun, though it didn't exactly fit with mood of a woman's fantasy (especially with him in that short dress as Tina). Comedian John Padon performed a stand-up act, poking fun at small size of mid-week audience and fact that they were seeing a "tittie show" at 8:30 p.m. instead of having dinner. John was good, but I would prefer to have had him as an opening act; his mid-show appearance, while offering dancers a rest, disrupted mood somewhat. And what of mood? It ranged from exotic (feathered costumes in vivid colors) to intimate (lingerie and a large bed as a dance platform) to playful (honky-tonk music and bright-red cowgirl outfits, though girls would get awfully sunburned dressed like that out on range) to theatrical (a Bond-esque "secret agent" act turning into a bluesy "Leave Your Hat On" striptease). The show doesn't attempt to overwhelm or dazzle its audience. The feeling is more friendly and fun. The costumes were nicely done, and wigs worn during some acts had no trouble staying on during most gymnastic of dance moves. Speaking of moves, I enjoyed flow of dances: rather than doing exactly-synchronized kicks and turns more suited to large shows, dancers seemed to be doing something just slightly different from one another most of time. This created an atmosphere of constant motion and made it fun watching individual dancers to see what each was doing. To read this entire feature FREE with photos cut and paste this link: http://jetsettersmagazine.com/archive/jetezine/shows/vegas/midnite/midnight.html Rob LaGrone, Jetsetters Magazine Correspondent – Read Jetsetters Magazine at www.jetsettersmagazine.com To book travel visit Jetstreams.com at www.jetstreams.com and for Beach Resorts visit Beach Booker at www.beachbooker.com

Rob LaGrone, Jetsetters Magazine Correspondent. Join the Travel Writers Network in the logo at www.jetsettersmagazine.com Leave your email next to the logo for FREE e travel newsletter.
|