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.

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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

I saw two things for first time tonight. First, I've seen plenty of trumpet mutes, but a mute in a tuba? It reminded my date of a huge earplug sticking out of instrument's flared bell, and it looked to me like a silver beer keg. (I always go out with dames that are classier than I am.) Second, Maestro Diemecke conducted without a baton. Instead, he made very good use of his hands, posture, and facial expressions to get exactly what he wanted from his performers. It was great fun to watch.

The final music on program was signature piece I mentioned earlier, Revueltas' 'La Coronela' ('The Woman Colonel'). I have never heard a musical work more at odds with its program description. The first movement, 'Society Ladies', started out nervous and finished like an intense battle scene from old "Victory at Sea" films! What was in that champagne I drank at intermission? Next, 'Dance of Disinherited' should bring to mind poverty and despair, but music started off serene and gradually became as light and fluffy as a scherzo; it seemed to involve dancing "rurales" and no small amount of cerveza. Third, 'Don Ferruco's Nightmare', sounded peaceful, but at least it grew in intensity as it came to part about The Woman Colonel herself. (Maybe 'Coronela' actually means "battle-axe.") I couldn't even tell where we were in piece until music suddenly hit a big crescendo and told me that we had reached fourth movement, 'Last Judgement'. It started

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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