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The Making of a Production Showj Plart 1 (continued from page 18) For the costume and wardrobe execution, Jerry Jackson selected local Las Vegas designer, Hedy Jo Starr. Her shop is reputed in the industry as one of the finest, employing some of the most talented seamstresses and milliners from Cuba, Italyfigypt, Istanbul, Paris, Spain and Hollywood. It took Ms. Starr and her staff of 16 four months to prepare for the 4,000-piece wardrobe for the new show. Over 50.000 yards of sequins were sewn onto the various dancer's costumes and showgirl gowns, including 25.000 yards of ruffles and 10,000 miniature bows. Anothejl5,000 yards of fabric were used just for the openingand closing numbers ?╟÷ a spectacle that has to be seen to be fully appreciated! FeathersHor the showgirl cos-?√ßtumes were flown in from South Africa, New Guinea, Australia and the Bahamas. The "Folies Bergere" uses only the finest of rooster, pheasant and ostrich plumes. The process of selecting, cleaning and color dying the feathers l| extremely time consuming, and very costly. When the"Folies Bergere" closed its previous edition on August 13 to prepare for the all new show, a barrage of stagehands dismantled the old sets and staging within 24 hours. Because they had only three weeks to prepare the stage for the new show, two crews of 24 men worked around the clock. Huge semi-trailertrucks pulled up backstage ofthe hotel's Tiffany Theatre (U.S. Homeofthe"Folies") the following day, unloading steel frames, lighting displays and constructed sets for the new show. Welders, electricians, carpenters, and flymen immediately began work on the final assembly process. Two of the " Folies" production numbers require elaborate lighting systems, and in one particular scene, a computerized "board" is utilized to light and program the 13,000 miniature bulbs that recreate the lights of Paris at night. In spite of all the work that goes into the making of a production show, not only for the cast, crew and director, it is usually the producer that carries the greatest burden of pressure and strain. For it is the producer himself, that is essentially responsible for coordinating all of the elements of a production show's creation process: the initial budgeting, hiring of director and choreographer, cast, crew members, staging supervision, scheduling, rehearsal calls, payroll,^ and finally the day-to-day operation of the show ?╟÷ long after it has opened. Hotel entertainment director, Larry Lee, represents a second generation of "Folies" producers fortheTropicana's French revues. His father, Alan LeeHproduced one ofthe previous editions back in the early 70's. Larry has worked his way up the ladder of entertainment success, following in his father's footsteps, long after Alan's departure from the Tropicana. Lee sums up the pre-production process like this|?· Long after everyone has gone home to rest and relax, my head keeps spinning with thoughts and worries. At night I'll awake and wonder if it will all 'come together'. There is so much to do, remember and follow through with that at times it becomes maddening. But that's show business and I've waited all my life for this moment. I wouldn't have it any other way." (Part II in our upcoming Winter/ Spring issue will feature the "Opening Night" gaiety and the pomp and ceremony that is as important to a show's success and its publicity, as the show itself.) LI "Folies Bergere" lead singers and dancers include above top to bottom: Carl Wallace, Emcee; Lynette Giesen; Adagio dancers, Gail Eason and Bryant McGivern; Albeny; and Joe