What a great show this is! We Angelenos are so lucky to get to see this incredible presentation. This review may be a tad long because I feel there’s no quick way to really convey its magnificence!

I’ve been a fan of the acrobatic troupe Diavolo since I first saw them on America’s Got Talent nine years ago, so I’m thrilled that I finally got to witness their brilliance in person. Actually, “in person” is downplaying the experience because it’s more like “face-to-face”—this show is more up-close and personal than a Tinder date!!! (I’ve never had one, of course, but I’ve heard stories.)

Photo by Karen Salkin, as is the one above.

I’ve been taking my friend Marc to shows for eight years now, and this is the first one about which he said, “It’s a ten out of ten!” He continued exclaiming as we exited, declaring Diavolo’s Escape to be “engaging,” “intriguing,” and “fantastic,” all of which I agree with. And more!

For those of you who aren’t aware of Diavolo, it’s a company of the most amazing daredevils/dancers/acrobats/gymnasts/general athletes. And it’s all helmed, conceived, and choreographed by one man—Founder and Creative Director, Frenchman Jacques Heim, who also choreographed Cirque du Soleil’s Kà in Vegas.) (He started Diavolo thirty-four years ago, which is a tad confounding because he doesn’t look much older than that!)

Photo by Karen Salkin.

I cannot imagine how anyone in the world is able to come up with this amazing artistry! I have heavy-duty and complicated dreams just about every night, but have never come close to seeing anything like any of these movements in them. Diavolo deserves every superlative and accolade in the world. I had written an early note while I was watching the show stating that it was all “very creative,” which turned out to be the understatement of the decade!

As much work as it all is, and years of training it must take, I imagine all the uber-difficult moves must be great fun for the young athletes for them to perform. No wonder there’s zero body fat among the twenty or so of them.

The performers are all excellent, of course, (or they wouldn’t be in this troupe—there’s no room for slouches here,) but I had a possibly strange favorite. (Strange only because it didn’t involve the danger that’s inherent in Diavolo’s repertoire.) It was champion roller-skater, Chance Becker, whose solo opened the second half of the program. He didn’t do any tricks; he just presented beautiful and emotional skating so close that I felt like he and I were doing a pas de deux!

Aaron Franco and Madison Moser. Photo by Karen Salkin.

Chance was followed by Aaron Franco and Madison Moser doing an actual pas de deux of a contemporary dance number, centered around a door, of all things. As much as I adored all of the show, I was pleased to see more dancing in the second half.

One girl, Kate Dougherty, appeared to me to be doing much of the heavy lifting. (By that I mean the climbing and jumping within an inch of her life!) I later discovered that she’s also the company’s Associate Choreographer. So she choreographed herself to take those risks! Just like I choreograph myself to sit on my couch and watch sports every day! Twins.

The entire cast makes the audience feel secure. Marc and I were lucky enough to be sitting in the ichiban seats—front row center–yet we never once felt in danger ourselves, (except maybe from the hard-work-induced sweat.)

And these athletes don’t just tumble around willy-nilly—they work on many creative contraptions. The first one reminded me of monkey bars. One looks like an old-fashioned British locomotive. Another features multiple slides. And the breathtaking finale showcases their signature giant half-moon-shaped structure, which looks sort-of like a pirate ship that these extreme daredevils jump on and off in different ways. While it’s moving!!! What a finale!!! The whole production is never-ending feats of strength and balance and grace and derring-do. Even the toilet paper rolls in the bathroom are stocked artistically!

Photo by Karen Salkin.

The accompanying music is also perfect. And well-chosen, such as using Another Brick in the Wall as they build and take apart a wall. The music is never intrusive; it only adds to the enjoyment of what we’re witnessing.

Even the venue is intriguing. Escape takes place in a very special space that has a “Joe sent me” feel to it. It’s Diavolo’s very own warehouse studio, which they call “L’Espace.” The location is adjacent to Downtown Los Angeles, but the area is its own hipster situation.

Jacques greets everyone, first outside the venue and then again inside the “theatre,” and explains a bit about what is to come. (And he keeps advising the audience, “Two more minutes,” until each half begins, even though it’s more like ten or fifteen more minutes. But it’s all good—the audience is buzzing the entire time.)

The show itself is only seventy-ish minutes, but prepare to spend about two and a half hours on the premises. The night I was there, it started pretty late, but it didn’t matter because the audience was entertained with an interactive experience, which happens every night. And then there’s an even bigger one after it ends. On the night I was there, everyone who participated looked to be loving trying-out some of the equipment, so I do regret a bit that I didn’t take advantage of the opportunities. (As I was leaving, the man who sat behind me rushed over to say that he thought I’d be the first one to try it. I have no idea why, but perhaps he saw me in the circus back in the day!) So wear whatever you like, but I suggest you leave the high heels and mini-skirts at home, in case you want to participate.

The apparatus that reminds me of monkey bars. Photo by Karen Salkin.

Diavolo’s Escape is appropriate and fun for all ages; there’s absolutely nothing offensive or scary about it. (Oh—except for worrying that the athletes might get hurt.) It’s an equally wonderful family, friend, or date night.

And now I have a couple of words of caution for you. First is that I’ve been told that on hot days, it can get stifling in there. However, very thoughtfully, the company provides little cordless fans for the guests to borrow during the performance, and bottles of water are always complimentary there! What a perk! But I advise you to dress in layers. I wore a thin tank top as my bottom layer, but my always-hot self was totally comfortable with a thin turtleneck and sweater on top of it! (It was a sixty-degree night, though.)

The other is a soft warning for my fellow back pain sufferers: Since the action takes place on the same floor as the three rows of audience seats, and I was sitting in that fabulous first row, my own back felt all the performers’ landings. I spoke with several other audience members at intermission and afterwards, and they either didn’t notice the vibrations or weren’t bothered by them, so if you don’t have a broken back, as I do, you’ll be fine. But if you are in a similar situation to mine, maybe bring a little cushion. Or instead of fans and water, ask them to give you a couple of Tylenol and a back brace!

Here’s one last very important note: Even more than the extreme enjoyment of beholding all this greatness is knowing that your ticket purchase helps support the Diavolo Veterans Program, which is explained thusly: “The mission of the Veterans Program is to utilize Diavolo’s unique style of movement as a tool to help restore veterans’ physical, mental, and emotional strengths through workshops and public performances in communities all around the country.”

Now for all reasons, go see Diavolo’s Escape! Perhaps even more than once, as I plan to!

Diavolo’s Escape running through June 14, 2026
E’space Diavolo
616 Moulton Avenue, near DTLA
www.diavolo.org/escape

Drop whatever you’re doing this minute, (even reading the rest of this review,) and procure your tickets to Santa’s Circus at the wonderful Montalban Theatre in Hollywood! It’s seriously the most fun I’ve had all holiday season, (and I have definitely been having fun! So this is saying something.) The show is in town for only these next two week-ends, so you have got to hurry. This is one entertainment that is truly fun for the whole family.

The happy and talented cast of Santa’s Circus. Photo by Karen Salkin.

And let me tell you—I love circuses. In case you didn’t know, I was in a circus myself when I was just out of my teens. It was the biggest traveling Big Top back then, and I was the star of the sideshow, Little Mina from Copenhagen. (And no—I was not the Fat Lady! I was the Divided Lady.) It was a strange and wonderful experience for a young Jewish college girl from Brooklyn to have.

But even so, I do not love every circus act. I can always live without animal acts. And I’m a little done with the trapeze, (which I actually tried a time or two myself.  Don’t ask.) So I absolutely adored Santa’s Circus because it’s basically an acrobatic and amusing stage show, as opposed to the gigantic kind of circus that I was in. And just about every act is a highlight.

I did have my favorites, of course. My absolute fave is a shock, even to me. Although I do not have clown-phobia, (and the main clown in my circus came to see my act every night, and beeped his horn at me, so I liked him,) I’ve never been a fan of clown acts. I especially do not like the ones in Cirque Du Soleil. Never have. But the clown act in the second half of Santa’s Circus is the best one I’ve ever seen! No exaggeration. I was cheering, giggling, leaning forward in my seat, and downright guffawing the entire time. The scenario is the clown teaching three dads from the audience how to dance while playing instruments. It’s hilarious.

The cheerful bow at the end of the fabulous, hilarious, musical clown act! Photo by Karen Salkin.

I also adored the very Christmas-y set. I felt like we were in a Hallmark movie!

I noticed that there was something happening in front of the curtain before the show started, but I was otherwise engaged at the time, so I don’t know what it is exactly. All I know is that Mrs. Clause is involved, and it looked like perhaps children could go on the stage to greet her. So if you’re going to the Montalban with young ’uns, I suggest getting there early and finding out for yourself.

The music is pre-recorded except for one striking bit, which is a glamorous female violinist who plays live every now and then throughout, including for the first spectacular act.

Santa’s Circus starts right off with a bang—a hand balancer who piles chairs up almost to the ceiling, and continues to do handstands on them. (I promise you that even if you’ve seen some of these acts on TV, you really must see them live on stage while you have the chance.)

The opening act–the hand balancer and the live violinist. Photo by Karen Salkin.

Then comes the contortionist, who has to be seen in person to be believed. (That’s what I was billed as in the circus, but whenever I see people like this wonderful woman, I chuckle to myself about how fake my act was.)

The acrobatic acts are interspersed with singing, dancing, tumbling, clowning, and audience participation. You never know what’s coming next in Santa’s Circus! And it’s all seamless. It seems much shorter than the hour and forty-five minutes that it is.

In the first half there’s one little part with “snow.” (If you love seeing that stuff as much as I do, I suggest you choose seats on the left side near the front.) When the snow started, my visual of the kids in front of me reaching their hands up to it was just beautiful. I wish I had taken a picture of it. But I’ll always cherish the memory of that supreme innocent happiness.

Two of my other favorite acts are courtesy of the big group of acrobats. In the first half, they do amazing rope jumping, dressed as colorful Marios. It’s one of the best numbers in the show. You don’t see that every day. Shortly before the finale, the same troupe does a major tumbling act. We were all screaming watching them!

The rope-jumping Marios. Photo by Lionel Garcia, as is the one at the top of this review.

The hand balancer who opens the show then showcases his unicycle skills, and he’s great once again. Especially from my perspective–I can’t even ride a bike!

Santa shows up every now and then. He and the Mrs. do a lovely magic act. Who knew Santa is so talented?! And I believe he’s even on the Montalban’s happening rooftop after the show, greeting children and hearing their holiday wish lists.

Santa and Mrs. Clause, taking a bow. Photo by Mr. X.

My only one teensy-tiny problem at all is that when we saw Santa’s Circus, the music was way too loud. I’ve heard that it’s gotten better since then, but just in case, I suggest bringing some cotton to put in sensitive ears.

I was happy to see that there were lots of well-behaved kids on the day we were there. But, please parents, do not be rude to the people around you, in any way, actually, but especially if you buy your kids the lighted clear balloons at intermission. The kids need to just lie them down while the show is going on, until the finale when the waving of them is encouraged. Besides that having the souvenirs moving around in front of you is so annoying and blocks your view of the stage, (as it did for us, and we’re not short little kids!,) the flashing lights can really harm someone in the audience who might have epilepsy. I’m not kidding about that. So an announcement needs to be made before the second half to “please put your balloons down until the finale, and then go crazy with them!” That would definitely help with the enjoyment of the second half.

Just a few of the lit-up balloons that the kids in the audience were waving during the entire second half! Photo by Mr. X.

Santa’s Circus is produced by Cirque Factory, which was founded by Cirque du Soleil member, Francisco Santos. I understand they do other productions at different times of the year, but this was my introduction to them. I hope to see more presentations down the line, or at the very least, this show again next year. If not next week again!

So to sum up, I highly recommend Santa’s Circus to everyone, kids and grown-ups alike! It’s a great show; it’s wonderful to see children having so much fun; it’s in a lovely laid-back theater; the late, great Ricardo Montalban’s announcement before the show is charming; and the refreshments on the mezzanine before the curtain and at intermission are the most reasonably-priced snacks and drinks of all time! What’s not to love?!

Santa’s Circus running through December 27, 2023
Montalban Theatre1615 Vine Street, Hollywood
www.santascircusexperience.com

I finally made it to another theatre’s stage in LA—The Microsoft! Read on to find-out how and why. I can just about guarantee it’s not what you expect.

As I’m sure many of you have noticed by now, I’ve been eschewing going out again for the past two and half months because of the dangers of the always-lurking Covid virus.  But when I was invited to Cirque du Soleil’s Media Day ahead of the Los Angeles opening of their show, Ovo, I bucked right up and left the house–there was no way I was going to miss it!

Ovo cast photo by Karen Salkin, as is the one at the top of the page.

It’s glorious news that Cirque is back after the same two-year hiatus that all of us have been going through. At the beginning of the pandemic, though, I was really worried that they may have closed down for good. So if they can re-group after all this time, the least I can do is leave my house for them, right?

If Ovo sounds somewhat familiar, the show was here in Los Angeles…ten years ago! I’m sure it will still be just as fabulous this go-round, but the presentation will be somewhat different, due to the venue. Back then, it was performed in Cirque’s signature blue and yellow tent, the Grand Chapiteau, at the Santa Monica Pier. This time, it will be presented as a stage show, which gives it a somewhat different look, at downtown’s Microsoft Theatre.

I admit that my affections lie with the Grand Chapiteau, and going to it is an always-magical experience, so I will miss that aspect of the adventure this time. But I did see a Cirque du Soleil Broadway musical, Paramour, a few years back, (at this point, wasn’t everything a few years back?,) and all the uber-athletic acts worked wonderfully on a stage, as well. So I have high hopes for Ovo at the Microsoft, especially now that I’ve been on their stage!

Photo by Laura Saul.

Yes, now you know–Cirque’s Media Day is what put me on the Microsoft stage last week! I’ve been on many a stage in my life, but somehow this felt special. I knew we’d be getting a preview of the show, but it was quite the surprise that we press peeps weren’t in the actual audience seats—we were right on the stage with the incredible athletes of Ovo. I haven’t been that close to circus acts since I was in one myself! So it was extra-thrilling for me. [Note: If you don’t already know about that crazy journey of mine, it’s a story for another time.]

We were treated to a brief performance by a few of the stunning acts. Then the members of the press had the privilege to individually join the gang for pictures. I was invited up right after two other media women got up there and…did handstands with the performers!!! So as I approached them, I said, “All I can do is sit,” which was met by laughs all around. (I may not be athletic, but thank goodness I’m still relatively amusing; after the past two years, I barely remember who I used to be!)

Some of the cast of Cirque du Soleil’s Ovo, still laughing at Karen Salkin’s jokes as she joined them front and center. Photo by Laura Saul.

Then we were fortunate enough to have private chats with several of the cast members. Of course, I chose all cute guys to meet with. (Have you met me???) First up was one of the Cricket acrobats, Denmark’s Christopher Sogaard, who has the most gorgeous speech! (You know that I always adore the global nature of this organization.) He told me that the absolute best day of his life, even better than his original casting, (even though he had been dreaming of joining Cirque since he was thirteen, when his friends first showed him some videos of the shows,) was when he received the recent phone call that Cirque was back on. He also gave me the shocking info that all the cast members do their own make-up, with basically their own designs, which boggled my mind because it’s all so artistic and exotic. After my self-imposed pandemic sequestering, I couldn’t even remember how to do my own mascara that morning!!! (Which you can tell from all these pix of me! My usual very camera-ready self had zero thoughts of it that morning.)

Karen Salkin being jealous of Christopher Sogaard’s gorgeous nose! Photo by Laura Saul.

Then I chatted with Vancouver’s Domenic Taylor, who does aerials in the show along with playing the Black Spider. We laughed so much that he possibly just took over the title of My New Best Friend, especially because he was previously in Toruk, one of the most unique Cirque shows I’ve ever seen, (which, alas, he told me is permanently done. Even though I still have their app on my phone! Shame.) He explained that even though I’ve seen Ovo before, a lot of changes have been made to accommodate this different format. He even broke down some of their other shows for me—he could teach classes on Cirque!

Last up was Eastern Europe’s Mikhail Kostianov, who, as the Caterpillar, was in perpetual motion on disguised stilts for the entire two-hour event!!! No wonder he’s so svelte! (So maybe I should get on some stilts!)

Mikhail Kostianov as the Caterpillar, scaring Karen Salkin. Photo by Laura Saul.

Along the way, I also spoke with two super-helpful and informative women from the organization. Cirque spokesperson, Janie Mallet, who was running the media event, spoke sooooo beautifully. And I got to practice the tiny drop of French I remember with another delightful woman, who’s from France. (I’m so sorry, I didn’t get her name, but the point is—I loved everyone there that day! But that’s how Cirque du Soleil always is.)

It was a totally fun event, but now I want more. The show opens next week, on March 16th, and I’ll give you the entire rundown afterwards.

But I already know that my review will be glowing, (as long as my seats are up-close enough to experience it the way I love to,) so you don’t have to wait to read what I have to say to get your own tickets. Every one of Cirque’s productions that I’ve seen has been fabulous, so I know this will, too.

There’s no better way to begin going out again after two years than to see a Cirque du Soleil show. So I suggest all my SoCal readers join me in starting right at the top!

For more info, please visit cirquedusoleil.com.

Whether it’s their best show ever or even far from it, Cirque du Soleil is always magical under their signature Grand Chapiteau, (which is gray-and-white for Volta, as opposed to their signature blue-and-yellow.)

I think it’s a more intimate tent this time, so that might explain the color change. I sat near the top, on the side, and didn’t feel that far away at all! So every seat must be a good one.

Photo by Karen Salkin, as is the one at the top of this page.

As many of you know, I’m the biggest sports fan in the world, (so please never call me during any Olympics!,) so I especially appreciated Volta’s billing as “Cirque du Soleil’s first sports-inspired big top show.”

The incredible Shape-Diving act. Photo by Patrice Lamoureux.

Perhaps because it had to work within those parameters, it started-out a tad slow, compared to other Cirque shows. My friend and I had a bit of a hard time getting into the spirit this time, because the first two numbers were uninspired rope-jumping followed by a girl just roller skating around by herself, without even doing any tricks! But the second half picked-up quite a bit, and by the end, we were whooping and hollering with the usual Cirque gusto!

I have a feeling that each performance of Volta varies a little (because pictures I’ve seen of the show don’t exactly match what we saw on opening night,) but whatever acts and performers you see are sure to also be special.

Here are a few of my favorites, in the order they occurred on opening night:

Acro Lamp, in which an aerialist hangs on…a lamp!, is different, in a good way. Any time I can look at abs like this guy’s is fine with me!

Acro Lamp. Photo by Matt Beard.

The end of Trampowall, (which I thought was named for the line-up of micro-mini-dressed chicks from my clubbing days, but is really an always-fun trampoline act,) is like the end of a fireworks display, with them all going off at once!

Trampowall. Photo by Matt Beard.

I really enjoyed the beauty of Daydreaming, a lovely blend of a guy doing bike tricks accompanied by a female ballet dancer, to the music of Finnish violinist and singer, Camilla Bäckman, about whom there’s something so ethereal. It’s a really special combination, and epitomizes the creativity of the Cirque people when putting their shows together.

Photo by Matt Beard.

The Swiss Rings and Bungee was a lively and exciting way to end Act I. The double act seemed to energize the opening night audience, so comparing notes at intermission was fun.

And then the entire second half was fabulous! The show really picked-up right from the start of it, with a unique act on a…ladder! Then it moved onto what is billed as Shape-Diving, where acrobats dive through higher and higher rings, some at the same time! It’s really incredible.

Photo by Matt Beard.

The Hair Suspension act, (which is Brazilian aerialist Vanessa Ferreira Calado being suspended in the air by…her hair!,) was gorgeous and spectacular. But the top of my head hurt the whole time just watching it!

Then came my favorite part–two hunks on aerial straps. I wonder if they’re the brothers whom I saw in the Cirque Broadway musical, Paramour. Either way—OMG! They’re what every male should look like! And let’s not forget their athletic abilities, please.

Speaking of ripped and talented men, I loved Volta’s main character’s contemporary dance number towards the end. Dance is usually not what Cirque du Soleil is about, except for filler between the acts sometimes, but this was stunning, no matter what. I could have watched just an entire show of him! [Note: I’m so sorry that I don’t know his name, but the cast list I read is confusing, so I can’t sort-out most of the performers to credit them properly.]

Photo by Matt Beard.

It all ended with an absolutely thrilling BMX act! (“BMX” stands for “bike motocross,” for you non-extreme-sports-fans.) I have never seen it done in such a small space before, and it pulled many of us right out of our seats. It was the perfect way to end the show.

BMX. Photo by Matt Beard.

I hate to say it, but the only act I was not a fan of in any way, shape, or form is the clown. I dislike clowning, in general, (which is surprising, I know, since when I was in the circus they wanted me to become one!,) but this clown act was my least favorite I’ve ever seen.

Camilla Bäckman. Photo by Patrice Lamoureux.

Getting back to the many positives of Volta, all of the original music composed by Anthony Gonzalez, is beautiful and hip and happening and haunting and everything good. I absolutely adored it.

I also always appreciate the multi-cultural cast. Cirque is what the entire world should look like! (Minus the crazy costumes, of course.) [Note: Since Cirque du Soleil is headquartered in Montreal, I’m wondering if all the Canadians involved can “defect” to the United States so they don’t have to deal with “Harkle” (Prince Harry and the Markle woman.) Just a thought.]

Cirque du Soleil always features some special festivities for each opening, and this one at Dodger Stadium was no different. The audience was treated to popcorn and champagne (served from a “dress” on one of the girls at the entrance!,) before the show, and fortune cookies at intermission, with fortunes like “You’re about to see something spectacular,” which is not exactly a bold prediction when you’re seeing a Cirque production!!! And, of course, we each received a clown nose on the way in—what a fun memento of this wonderful experience.

The “champagne dress.” Photo by Karen Salkin.

A great time was had by all. And my fellow Southern Californians can enjoy Volta, as well, at two venues in this area for the next couple of months. So be sure to get in on it while you can. Just make sure to bring a coat because it gets cold out there at night. And extra money for parking—it is Dodger Stadium, after all. (Which also means eat before you go. Unless you want to spend your life savings on hot dogs and popcorn!)

Cirque du Soleil’s Volta running though March 8, 2020 at Dodger Stadium
And then the OC Fair & Event Center in Costa Mesa through April 19, 2020
www.cirquedusoleil.com/volta

Southern Californians—you have only this week-end to behold another amazing Cirque du Soleil show right in our own backyard! So please rush right out to see Corteo, at the Fabulous Forum, one of my original favorite venues in LA!

First, a thought on Cirque du Soleil in general. I remember the excitement when they first arrived in town a few decades ago. If you missed their magnificence back then, you were definitely not in with the in crowd.

I still feel that thrill every time I even see their name! So I was especially excited to discover that they’re back in LA with yet another offering that’s new to us.

The opening of Corteo. Photo courtesy of Cirque du Soleil, as is the one at the top of the page.

As usual with Cirque productions, Corteo has a story. The official word is that, since “corteo” is Italian for “cortege,” (which is a funeral procession,) it’s about a “clown who pictures his own funeral taking place in a carnival atmosphere.” Although a cortege is usually a solemn affair, you know that’s far from the case here!

So, as a former circus girl myself, and one who made my Los Angeles stage debut playing a mourner at a funeral, (don’t ask,) this one was of special interest to me. I could have fit right in! (If I had any athletic talent. Which I do not. I just got cast as the star of the side show because I was very young and looked good in a bikini! Again, don’t ask! But do read the story in my memoir one day.)

Corteo is actually one of Cirque’s classiest, most innovative productions. After their zillion different presentations, these ridiculously creative minds still come up with acts we’ve never seen before. For example, this one opens with a quartet of females doing aerials…on chandeliers! Who dreams-up this stuff???

Photo courtesy of Cirque du Soleil.

As amazing as the artists’ physical abilities are, I loved that this is more of an ethereal happening than a program of death-defying feats, even though danger elements are still prevalent throughout. It’s all still awe-inspiring, but it also meant that Mr. X enjoyed it the most of the Cirque du Soleils he’s seen because he doesn’t like to be terrified for the performers, but rather just wowed by them. (And we still had to hold hands to get through the scary parts.)

Every single one of these acts is ultra-creative, with lots of surprises and many magical moments.

And, as always with Cirque, Corteo is full of seamless transitions, with amusing and unusual little touches in-between the main acts, such as empty clown shoes walking by themselves across the stage, and angels flying around quite often, (I assume because the deceased clown is now an angel himself.)

Photo courtesy of Cirque du Soleil.

More on the actual show in a minute, but I must tell you that the evening began with a funny mystery. When we entered the Forum, we checked-out our seats before we headed back to the lobby for snacks. As we entered the arena, the first thing we noticed was the gorgeous stage area. Of the ten or so Cirque productions I’ve been lucky enough to enjoy, I had never seen one on just a regular stage like that, beautiful as it is, so I was sort-of surprised by the new configuration. Then, since it was still early, and lovely out, we walked around the outside perimeter of the Forum, and came to the lobby again pretty quickly. We could not imagine how we had gotten around the entire circumference that fast! When we tried to go to our seats, the section number had changed! The usher told us that our section was actually around the other side of the building. But the stage was right there, in front of our eyes, as it was when we first looked at it. We were so confused. But we walked around the outside again, and came to our section. Mr. X asked what had just happened. I said that maybe we had been upstairs somehow, because the view of the stage had been the same. And then, when the curtain opened, our jaws dropped—it turned-out to be a round stage, with an exact mirror image of seats right across the way! That’s why it had looked the same from the other side of the building! That’s brilliant staging.

The stage, as it is before the show. Photo by Karen Salkin.

And while we’re on the topic of that venue surprise, I have to tell you what an easy experience this was. I had been to the Forum only once since the glory days of all the sports teams and ice shows. I had actually never even entered the building by the the normal entrance—I was always a regular guest in the Forum Club, so I went in through there. (I know—spoiled much?!) But getting there this time, parking, going through security into the Forum, walking around the lobby—it was all very uncomplicated. And fun, too; they have free digital photo machines in the lobbies, and even a discount on all the concessions when you use a Chase card! So I was pleasantly surprised by the entire adventure this time. And I hope to be back there soon.

Now back to the highlights of Corteo.

There’s a fascinating number that involves basically just whistling and playing the rims of water glasses and giant bowls. Who would have thought that whistling could be so entertaining?! I guarantee you that only Cirque du Soleil would think of that!

The trampoline act. Photo courtesy of Cirque du Soleil.

I have to admit that I’m not a fan of clowning, even though many think that’s what I did in the circus. So I was happy that there was just the right amount of that art. Mr. X really enjoyed those sections, as did just about the entire assemblage. [Note: Even though a clown is the central figure in this narrative, and many of his compatriots are present throughout, that theme does not overwhelm; it’s actually quite charming.]

I don’t want to ruin any of Corteo for you by telling you about each act in specific, so suffice it to say that it’s all fascinating, from a trampoline act…on beds, to comedy, to normal circus acts performed in extraordinary ways. And it’s all closed-out in a big way, with high-bar gymnasts, who at times reminded me of foosball men!

Photo courtesy of Cirque du Soleil.

And there’s music. Lots of music. With great musicians who impressed Mr. X no end. Even though Cirque always has good music, which I do appreciate, I rarely seem to be moved by it. But Corteo is a step above, with two very special performances. Mr. X said he was just about brought to tears by Alain Labrie’s expressive soaring singing. I don’t have to tell you how special it is to have a voice virtuoso as talented as he is in a circus show! (Alain’s female counterpart, Aurelie Deroux-Dauphin, is also wonderful, and a lovely complement to him.)

And we were both bowled-over by Geert Chatrou, who is the talented artist who graced us with the aforementioned whistling! I could not believe that such stunning music can be created that way.

Those three musical artists, from Canada, France, and the Netherlands, respectively, are representative of one aspect of all Cirque du Soleil presentations that I really appreciate–how international the cast is.

And that reminds me—when it leaves LA, Corteo will be traveling around not only North America, but the world! So even if you’re not in SoCal right now, don’t despair. Just check-out their website below, and find-out when it’s coming to your city.

The end of the show. Photo by Karen Salkin.

And for lucky Angelenos, I understand that next month, Cirque will be bringing us yet another offering under the blue-and-yellow Grand Chapiteau on the waterfront! So get ready for that one, as well. You know that I am!

Corteo running through March 31, 2019
The Forum 3900 W. Manchester Blvd. Inglewood www.cirquedusoleil.com/corteo

I had the most fun dancing in a Hollywood nightclub last week. But it was not with my club peeps—it was with a bunch of nine-year-olds!!!

The red carpet entrance. Photo by Amy Boyle Photography.

Let me explain. The event was Just Dance Live, which is a live interactive show based on a video game that I used to see advertised on TV all the time. It turns-out that Just Dance is the #1 music video game franchise of all time! It’s been around for almost a decade, and is geared towards the entire family. So the audience for this live version was actually not just children; all ages were represented.

This is how the evening went: It was held at the famous Hollywood Palladium on Sunset Boulevard in Hollywood. As we walked in, our eyes were immediately treated to splashes of color everywhere we looked! There were characters from the game lining the red carpet, greeting everyone. Some people came dressed as the characters. Even the grown-ups!!!

The pre-show lobby activities. Photo by Karen Salkin, as is the big one at the top of this page.

It paid to arrive early because there were several stations all over the lobby where audience members could get their faces painted and have their hair painted with day-glo colors (that wash-out, of course.) (You just know that I was tempted to do both of those adornments, but I didn’t want to take a turn away from a younger patron.)

Then the show took place on the Palladium’s massive dance floor. There were two sections of seats at the back of it, just in case someone needed a break from dancing, but hardly anyone sat down all night. Even I, with my broken back, was up and grooving the whole time!

The view of the main stage (in pink) from behind the smaller platform (in yellow) at the back of the dance floor. Photo by Karen Salkin.

There was a main stage, with a smaller one in the back, for variety, and two elevated stands, one on each side, for even more interesting visuals throughout the night. The whole event was so comfortable in there.

The action began with a sort-of aerobics class session, to get the crowd warmed-up in the right way for the non-stop activity that was to come. And then the show began. And I’d say that about 99% of the assemblage knew exactly what was going on!

The cast at the very end. Photo by Karen Salkin.

The cast of over a dozen dancers performed the exact dance moves from the video game, on the various stages, and the audience joined them from the dance floor. It really didn’t matter if someone had never seen the game before; you either just followed along with the performers, or even just the person in front of you, or free-styled the whole time, which is what I did.

The music was all the original hits, and although every song was totally upbeat, I loved that so many different styles were featured. Alongside hip-hop hits of today and recent times, such as Happy by Pharrell Williams, Applause by Lady Gaga, HandClap by Fitz and the Tantrums and Bang Bang by Jessie J, Ariana Grande, and Nicki Minaj, there were throwbacks, including Sexy and I Know It by LMFAO, In The Summertime by Mungo Jerry, and Ghostbusters by Ray Parker Jr.  (You just know that I am not a fan of those last three, don’t you? But I didn’t even mind them too much in this environment because it was all so fun!)

Just one of the very many colorful images on the screen. Photo by Karen Salkin.

And all the while, the most colorful images were splashed across the giant screen. You know that, of course, that was my favorite part of the proceedings! It was all so beautiful and creative! They even changed the foot-level backdrops of the stage in the back to reflect if it was a beach scene or whatever, complete with dry ice “smoke” for full effect. The effort that went into the visuals was the most impressive part of the whole presentation!

And even though the dancers had to do all the pre-set semi-easy moves all night, you could tell that each one is much more talented than this choreography demands. But they made all the steps look fabulous.

The little boy grooving atop his dad’s shoulders. Photo by Mr. X.

I have to admit that when I read the words “video game,” I was hesitant to participate at first. I always think of that genre as evil and dangerous. So I applaud the company Ubisoft for Just Dance. It’s refreshing to see a video game that’s not only none of those bad things, but is ultra-positive! This once encourages exercise, without the participants feeling like that’s what they’re really doing! And it’s designed for families, so it provides quality time for everyone to come together. Which is what they did on the Palladium’s dance floor! My favorite bit of the night was seeing a mother grooving away with her young daughter, who must have been about five, sitting on her shoulders, dancing away herself with her little arms. I could not take my eyes off her! And then Mr. X mentioned that his favorite image was of a similar scene, but this time with a little boy on his dad’s shoulders. (Those scenes made us glad we haven’t had kids; we’re not that strong!)

Just sa small sampling of the appreciative audience, with one of the two side platforms in the background. Photo by Karen Salkin.

I met two stepsisters, whose parents told me they don’t usually get along. But they were having the time of their lives, frolicking together in their matching ensembles, loving every minute of their shared Just Dance Live experience. Actually, that whole family came out to Los Angeles from New York just for this show, because that’s all one of the girls wanted for her recent birthday!

And the entire night, I didn’t see one frown! Everyone was upbeat, happy, smiling, and getting along. This was the perfect escape from whatever other issues one is having in life. I wish this event would be every night! I almost want to become a Just Dance Live groupie and follow them around!

One of the cute numbers that were performed on the rear stage. Photo by Karen Salkin.

But, alas, I believe that LA was the last stop of the Just Dance Live Tour, even though I hope not. Every city needs a visit from this vibrant and important company. So make sure to look out for it, no matter where you live. And even if you’re a couch potato who hasn’t moved in ages, I suggest that you go to this show. It will benefit your soul, as well as your body!

For more information please visit www.justdancelive.com.

I often invite my web guy, Lou, to the many events I attend, which are frequently really fabulous.  He never cares to go to any of them, except for one—Millennium Magic at Theatre West in the Valley.  It’s the only event he’ll make time for all year!  It’s that fabulous!  And this annual show is happening again this very week-end!  Yay!

Jeanine Anderson and George Tovar.

I won’t miss it, either, and neither should any of my fellow Angelenos.  It’s a fundraiser for the theatre, and is produced by two Magic Castle magicians, Jeanine Anderson and George Tovar.  Since the Castle is a private club, which most of you will never get into, (sorry to say that, but it’s true,) this is your one chance all year to see full-on professional magicians at work.  And each of the three shows features different line-ups, so if you see all shows, you’ll get your quotient of magic for the whole year!  (And you don’t have to dress-up and spend a fortune, both conditions of going to the Magic Castle, even as someone’s guest.)

If this year’s rendition is anything like the previous editions, many of the performers will be amusing, which I love.  And I have a feeling they’ll all be as uber-entertaining as their seventeen preceding presentations.

Jeanine Anderson with a trio of kid assistants in a previous show.

And all of the acts are appropriate for all ages, so bring the kids.  They (or you) might even make it up to the stage to assist one of the magicians.  (I always slump down in my seat when they’re scanning the audience for volunteers, because I’d rather watch someone else up there than be on stage myself.)

I absolutely love magic when it’s done well, as is always the case with Millennium Magic.  There’s no other art form like it.  And getting to see a variety of magicians in one short afternoon or evening is so special, even to jaded moi.

Here is the schedule of Millennium Magic performers, (in addition to Jeanine, who will do brief stints during all three shows, of course,) but please keep in mind that, as with all theatre, it’s subject to change:

Friday, November 17 at 8PM–Kayla Drescher, David Regal, David Kovac, and Charlie Mount & Chloe’.

Saturday November 18 (which is Jeanine’s birthday, by the way,) at 8PM–Brandon Scott, George Tovar, Elliot Hofferth, Aaron O’Brian, and Albie Selznick & Co., (whose full show I reviewed earlier this year; you can still read it here: itsnotaboutme.tv/news/live-production-magic-monday.)

Sunday, November 19 at 2PM–George Tovar, Matt Marcy, Shawn McMaster, and Charlie Mount & Chloe’.

Looks like Jeanine Anderson performed some magic on her co-star’s wallet!

I wish I could see all three performances, but, as usual, I’m overbooked for the week-end. But, as I stated earlier, I would never miss Millennium Magic, so I’m thrilled that I’m getting to go to the Sunday matinee! I’ve done that one before, and I have to tell you that it’s the coziest feeling. This show is the perfect lead-in to the holidays!

I can’t wait, and neither can Lou. I hope to see the rest of you there, as well!

Millennium Magic XVII running  only November 17-19, 2017
Theatre West   3333 Cahuenga Boulevard West   323-851-7977  www.theatrewest.org/onstage/millennium-magic-xviii

After seeing this incredibly unique musical presentation from China, I still don’t understand the title, nor the Chinese language all the singing is in, but none of that matters.  Memory 5D+ is a wonderful production, in all manner of artistry.  It was fascinating from the moment we entered the auditorium.

Photo courtesy of Memory 5D+.

Since I had interviewed some of the principal players a month or so before Memory 5D+ arrived at the Pasadena Civic Center, I had a feeling it would be spectacular.  (If you missed that column, you can still read my preview here: itsnotaboutme.tv/news/upcoming-event-memory-5d.)  When Mr. X read what I wrote about the show, that was still upcoming at that time, he even agreed to come with me to see it, which I have a feeling that most of you know just how rare of an occurrence that is!

And, as usual, I was correct!  The creativity was a sight to behold!  And a treat for the ears, as well.  Actually, it was a treat for other senses, too, which I’m going to tell you about in a bit.

The explanation of the story, shown on the scrim at the beginning of the show. (Can you tell that I was sitting on the side?) Photo by Karen Salkin, as is the big one at the top of the page.

There is a slight story to the program, which an announcer told us right at the beginning, but I really don’t think that matters at all. We just took it as an experience with many different stunning offerings. I do know that it’s a tale of the concept of yin and yang, which are personified by two wonderful dancers, Zhang Yixiang and Zhao Lei. They perform throughout the show, as does female dancer Zhou Lijun. Some others do just one number each, and every single one of them is superb and exquisite!

I didn’t know where to look for some of the numbers; there was so much going on in them!  For example, in one number, there was the beautiful music, which was brought to us by musicians and singers, and a dancer/contortionist moved slowly across the stage in a surreal way, while about twenty beautiful ladies surprised us by walking slowly down the aisles, holding glowing pink flowers.  And, all the while, the spellbinding holographic projections were mesmerizing us.  I needed to see that one number about five more times to catch it all!!!

Lucina Yue greeting her adoring New Bestie, Karen Salkin, after the show. Photo by Mr. X.

And those “aisles walkers” weren’t the only special happening during the production. How’s this for special–as flowers appeared on the scrim, we literally smelled them!!!  What a fabulous surprise!

My gorgeous New Best Friend, Lucina Yue, not only played the harp like an angel, but she looked like one, as well. And her vocals matched it all. I can’t imagine how hard it must be to sing while playing the harp, of all stringed instruments. That whole number, accented by a beautiful dancer, was magical.

Mr. X and I both loved that the projections extended beyond the sides of the stage. And there were two levels of the visuals to begin with. Some were on the backdrop screen, while different ones showed-up on the scrim, which stayed in front of the performers until the very end, to give us that extra panoramic depth. That the ethereal images went all the way back to the balcony was the icing on the cake.

Zhou Siyao. Photo by John Hughes.

A major highlight of the show was a rousing number played by Zhou Siyao on the pipa, which is a short-necked fretted lute, an unusual instrument that reminded me sort-of of a vertical guitar.

And aerialists, The Xiangyun Brothers, were perfect. They brought the right amount of pizzazz to the show, without horrifying Mr. X, who’s usually not a fan of acts that feature possible danger to the entertainers. Our mouths were hanging open during their numbers, and the audience joined us in gasping at their feats.

The Xiangyun Brothers. Photo courtesy of Memory 5D+.

I was looking forward the most to hearing the Tuvan throat singing, because it’s so not the norm in entertainment in this country, and I was not disappointed.  At all.  I had seen it performed on TV only a time or two in my life, and the individual was just standing there singing in that manner, so I loved the surprise of hearing it performed in songs this time, accompanied by traditional Chinese instruments. It sounded just like Tom Waits. Maybe he’s part Mongolian, and we never knew!

Mr. X said he was touched by the “delicate beauty” of Memory 5D+. On the way home, he added that the entire production was “classy and transporting.” (I think he should be writing all these reviews instead of moi, n’est pas?) I agree with all of his assessments, and was awed myself by the entire presentation.

Just some of the muscians, including the Tuvan throat singers. Photo courtesy of Memory 5D+.

There was actually only one tiny, shallow thing that could have made the experience better for me—at the very end, as we were wildly applauding, several members of the cast brought out beautiful blue scarves, and bestowed them upon audience members who seemed to know what was coming; they all rushed right up to the front of the stage to receive them. I was sitting close enough to get up there as soon as I realized what the routine was, but I didn’t know if it would be insulting to the culture for a non-Chinese person to get one, so I hung back. But once I found-out that the scarves symbolize good luck, (not to mention that they match my eyes!,) I’ve been regretting my politeness ever since.

So, I’ll just have to be content with the fact that my good fortune was in seeing Memory 5D+ to begin with! I hope that someday, somewhere, you all will be as fortunate.

www.Memory5d.com

As someone who was in the circus once upon a time, and who also worked at the Magic Castle way back in the day, (for three big nights—it was not my cup of tea; but my friend who replaced me made a whole career out of it, so that was a win-win for us,) I really love magic. And, as it turns-out, so does my friend Jan.

Andrew Goldenhersh (holding his friends,) Albie Selznick, (who is also the guy in the pic at the top of the page,) and a guest, at the curtain call. Photo by Karen Salkin.

So we were were very happy to go down to Santa Monica on Monday night for the opening of a weekly entertainment called Magic Monday. It’s an hour and half family-friendly show that features a couple of professional magicians each week, along with an occasional variety act, such as a juggler, marionettes, and perhaps even a ventriloquist! (The basic line-up each week is on their site, if you don’t like surprises.) So, you can attend every week and never see the same show twice! How special is that?!

The one constant is the host, Albie Selznick. After he welcomes the enthusiastic crowd, he does a few tricks himself over the course of the evening. On the night I saw it, most of his schtick worked, one (about a woman who died in that venue,) not so much. But no one really seemed to mind that little glitch. I think they were charmed by his discomfort. (Hopefully, he’ll swap that one out before you see it.)

Andrew Goldenhersh with a special helper from the audience. Photo by Karen Salkin.

A nice aspect of Albie’s hosting job, (and the show in general, actually,) is that, due to his warm, easy-going approach, combined with the intimate layout of the venue, the whole evening seems less like a stage show, and more like a friend is just entertaining you in his living room. That made it a very cozy, casual experience, which Jan and I appreciated.

The guest magician that night was Andrew Goldenhersh, whom I had enjoyed a few years ago at the annual Millennium Magic at Theatre West. He’s fabulous. And I found-out at Magic Monday that he also plays a mean classical guitar!

To add to the fun, before the audience even enters the theatre, there’s a close-up magician who goes around the courtyard and does card tricks for every group, privately. That was actually our favorite part of the evening. We love being amazed by magic right in front of our faces! On opening night, Scotto Smith did the honors, and he was wonderful.

Scotto Smith entertaining the crowd in the courtyard before the show. Photo by Karen Salkin.

It was lovely to see that so many local magicians came out to support their fellow prestidigitators, even though they must be familiar with a big percentage of each other’s tricks. (Actually, were they really there? Or was it all just an illusion?)

Speaking of strange occurrences, especially in looks-conscious LA, here’s some more good news–you can go to Magic Monday wearing anything at all! Let me put it this way—members of FarmersOnly.com would be comfortable there!

So, all in all, this is a perfect Monday night activity. When I was a club promotor a few years back, my posse and I didn’t know what to do with ourselves on Monday nights. All the dance clubs were closed! And even for the classier among us, there were no shows playing around town, either. We would have loved to dress down, and go have some laughs and dropped jaws at a show such as this one.

So, Angelenos should consider themselves lucky that they have this opportunity now! Go take advantage of it. (And don’t try to figure out how they all do it! You’ll give yourself a mental hernia!)

Magic Monday running every Monday (duh) through August 28, 2017
Santa Monica Playhouse  1211 4th Street  Santa Monica  310-450-2849  www.MagicMondayLA.com

For months now, colorful ads for the show Absinthe have been popping up all over my computer. And they definitely got my attention. I could not figure out what it could possibly be. The promos made it look fun and crazy, but I never had time to investigate. (Plus, I never fall prey to internet advertisements.)

The patio outside the tent. Photo by Karen Salkin.

So I was uber-excited when I got invited to the recent opening night at LA Live, the happening area across from Staples Center. And the email instructions for that premiere were even more entertaining than the ads! They were sort-of mysterious, too. I really didn’t have many clues of what was in store for us.

So, not knowing much at all about the show, Mr. X and I headed over to the opening night of Absinthe LA last week. (The “LA” is because it’s been running in Vegas for several years now, but with a different cast.)

Absinthe’s signature cocktail. Photo by Karen Salkin.

Opening night began with a bang. As we entered the roof patio, we were offered their signature cocktail of vodka, champagne, and club soda. (Hey—I just thought of this—why did they not serve actual absinthe? They could have watered it down, if necessary, but that drink would have made the most sense.) I think that many of you know by now that I don’t imbibe, (and I recently realized that I wish that no one did—nothing good has ever come of it, for anyone,) but the show encourages people to drink, so that was a cheerful way to start it off.

They also had a food truck up there, which provided hot dogs and wonderful little crispy fries. And they did something smart—each paper dish contained, along with the fries, only half a dog, in case all you wanted was a taste. You could go back for more, as many times as you liked, but this way, there was much less waste. (In case you’re wondering, I’m not naming the truck because the dogs had weird bacon and even weirder mayonnaise on top of them, so not my faves. But I so appreciated the treat!)

A group of revelers preparing to have their photo taken. Photo by Karen Salkin.

And they had a fun photo booth, which is there all the time, not just for the opening. It’s actually not a booth, per se, but rather a major scenic set-up, the look of which goes along with the theme of the show.

Speaking of the theme of the show, it turns-out that Absinthe is billed as “an adult-themed cocktail of circus, comedy, burlesque, and vaudeville for a 21st century audience.” I absolutely loved, loved, loved the circus acts, but the other aspects, not so much. (Actually, not at all, but I’ll get to all of that in a minute.)

The Silicone Valley Girls. Photo courtesy of Absinthe LA.

For me, the presentation is a bit of a weird melange.  It’s like two completely different shows in one!  On the good side, there are the classy, beautiful, talented acrobats.  On the other, it’s a classless, crude, vulgar, totally unfunny comedy show…for juveniles. (And possibly perverts.)

So, let me get to the many positives first, which are the reasons I’m recommending the show to everyone who will not be offended by the other parts. The circus acts are soooo worth seeing! For once, I can truly use the word “amazing” to describe something!

The acrobatic performances are phenomenal! This is a group of supreme athletes.  And they all look great, too.  They’re an attractive group, especially their incredible bodies.  And trust me, you’ll know that in about a second–they’re all practically naked, especially the girls.

As one half-naked totally-in-shape chick after another took the stage, I was regretting a bit that I forced Mr. X into going with me. The only one who didn’t look good, actually, was the lone stripper. Go figure.

Look at those abs on Max Matterhorn! (Or whatever his real name is.) Photo by Karen Salkin.

But the bodies on the guys were equally as gorgeous as those of the women. Sadly for me, though, none of them were as naked as the ladies. But a girl can dream, can’t she?

The acts are all uber-creative; nothing is what we would expect.  For instance, the contortionist performs in a suspended bubble, (hence her moniker of Lady Bubblelicious,) rather than on a usual raised platform. And there’s a trio of females, The Silicone Valley Girls, who do hand-and-head-balancing, which I’ve previously seen only men do.

Speaking of how they perform, I have to laud the intimate space.  I haven’t seen circus acts this up-close and personal since, well, since I was in the circus!!!  (But, trust me, none of the acts in my circus were anything like these.  Mine were all traditional ones, like trapeze and tightrope and clowns. It was all very old school, which is actually how all circuses were back in the day. And none of us had abs that looked anywhere close to what these people were rocking. OMG!)

The Moscow City Rollers.

The round stage is about the size of a dining room table. A small six-person table!  I’m still in awe that the skating duo, Moscow City Rollers, is able to accomplish all their spectacular tricks on something so minuscule! That size and shape of the venue are part of the fun.

Absinthe is in a special tent that was erected at the top of LA Live specifically for this show. It’s a very lively and buzzing atmosphere in there. It feels like what I imagine an event in the ’60s did: very dark and foggy, with lots of colorful artwork on the walls. It had a “Joe sent me” vibe to it. I wish I had taken the time to look around at it all, so I suggest that you do just that when you attend the show.  (And take pix, too, which they give you permission to do, even during the show. As long as you don’t use a flash. Duh.) The only thing missing to complete the ’60s feel, I’d assume, was the smell of weed.

The interior of the tent. Photo by Karen Salkin.

Actually, the reason the show is titled Absinthe is because it was inspired by the absinthe-drenched cabarets of late 19th century Europe, so I guess that’s what the tent successfully mimics. So, just when I was thinking that this is not your grandparents’ entertainment, it turns-out it truly is not; it’s that of your great-great-grandparents! [Note: Absinthe is a spirit that was temporarily banned in the US and Europe in the early 20th century because it was considered to be a dangerously addictive hallucinogen.]

Before I move on to other facets of the show, I have to laud those acrobatic performers a bit more. I can’t even single-out any of the acts because they are all so magnificent. Not a weak one in the bunch. So, here are the stage names of the rest of the cast whom I haven’t mentioned yet, because each and every one of them deserves his, her, or their due: Edmund, Lost Boys, (whose photo is at the top of the page,) The Flying Farquhars, Scissors in the Sky, Madame Lash, Max Matterhorn, and Los Dos Tacos.

And there’s an excellent female singer, who’s billed as The Green Fairy. I’m assuming that’s because of either the green color of the absinthe beverage, or because that’s what people were said to see when they drank it back in the day. [Note: Sadly, there are no programs for the show, so I don’t have anyone’s real names to give them their proper lauding. You know that I would have been more than happy to do that, if it were possible.]

Okay, here goes with, as Paul Harvey used to say, “the rest of the story.” I hate to write anything negative about a show that employs so many talented artists, but it would not be fair to you, my readers, if I did not explain Absinthe in its entirety. I’m always honest with you, and this time is no different.

Here’s a caricature of The Gazillionaire, at the bar inside the tent. Photo by Karen Salkin.

So, here’s the deal on the supposed comedy portions of the show: what makes Absinthe different from classy shows that also feature amazing acrobatic acts, such as Cirque du Soleil and  Cirque Berzerk, is that it’s helmed on-stage by a very crude, vulgar, bawdy emcee. He’s called The Gazillionaire, and that appears to be the hook of the show. He comes on in-between the acts, and his schtick is to be so disgusting and offensive, and to embarrass as many of the guests as he can, that he’s basically hard to listen to.

I’m far from a prude, and I often talk like a truck driver myself, (and I was also guilty of an occasional double entendre on my former television show, but they were benign compared to this guy’s words,) but this foul-mouthed-for-no-reason act just wasn’t funny to me.  It’s like a high school—no, middle school—guy who has to talk like that because he has nothing to recommend him, and he’s desperate for attention.  But because, as my e-zine title states, it’s not about me, I looked around the audience for the reactions of others to share with you, and it was mixed.  Some people appeared to be really enjoying the blue humor, but an almost equal number of guests looked miserable during those parts of the show. (Especially some of those he picked-on. One man seemed ready to deck the dude!)

Believe me, no one laughs harder than I do at sex jokes when they’re appropriate, (and funny!,) like in Chris Rock’s brilliant act, and even Joe Pesci’s tad bizarre album of adult-oriented songs, (such as Take Your Love and Shove It Up Your Big Fat Ass,) which even made my little mother laugh!  But The Gazillionaire’s brand of humor just didn’t cut it for me.

On Facebook recently, very famous and well-respected comedienne Elayne Boosler wrote something interesting. It was directed at other stand-up comedians, and had nothing to do with Absinthe, but I thought of her quote as I was watching the show. She said, “But, can we please be done with ‘pussy’ now? Please? Is there anything left to say about pussy? Can we please, please move on to subjects of interest in the world of grown-ups who enjoy hundreds of subjects of interest, the whole world, and all that is in it?” And when I read that, I said to myself, “Amen! You go, girl!” Too bad the people who wrote Absinthe didn’t get that memo. (But it’s soooo much worse than that one word; the guy attacks gays, black guys, white guys, and even old women’s private parts. To their faces! Not funny.)

Equally as bad as The Gazillionaire is his female sidekick. That woman is perhaps the most annoying person I’ve ever had the misfortune to hear.  Her voice is like nails on a chalkboard, and she’s not the least bit amusing.  Those two made me understand why they encourage the audience to drink before and during the show; only drunk people (or pirates) will think that pair is funny.

To sum up, the experience on the whole is fun, and very different. The circus aspects are wonderful and jaw-dropping. But the attempted humor didn’t cut it for me.

So, if you can compartmentalize and block-out the creepiness, (or are a bit sleazy yourself and enjoy that kind of thing, in which case, you’ll love it all!,) I highly recommend seeing Absinthe LA for the amazing acrobatic acts, especially so close-up.  (Every seat in the six-hundred-seat tent is a good one!) You have to heed my advice, though: 1) do not sit in the front row, for several reasons, 2) sit one little level up for the best view, and 3) definitely eat (perhaps at one of LA Live’s many restaurants) before you go–after the show, you’ll either be too nauseous for food, after that assault on your ears, (and possibly psyche,) or too embarrassed to dine, after seeing all those magnificent bodies!!!

Absinthe LA is in a limited run, but with no end date yet
Spiegelworld Tent at L.A. LIVE’s Event Deck   1005 Chick Hearn Court   www.absinthela.com