ent001701-002

This item has not been digitized in its entirety. The original item is available for research and handling at the UNLV University Libraries. Additional digitization is available upon request. Please contact Special Collections to request additional digitization or with any questions regarding access at special.collections@imlv.edu. OHHIOOn HIW utuiu?Σ≤ > j aswell. Soon the ultimate party crasher, Samson, appears in all his powerful Israelite glory; after more Philistine revelry and an exquisite, sexy dance interlude by ?╟úThe Lovers,?╟Ñ Samson ends up in ?╟úDelilah?╟╓s Desert Hideway.?╟Ñ She entices him to her bed, only to betray him by ... well, you know the story. He?╟╓s captured and shackled and tortured by the ?╟úWild Ones?╟Ñ in an underground tomb; within seconds Samson regains his strengh and turns the dark, rocky den to rubble. Again, it?╟╓s pure Arden, and it?╟╓s only the first cataclysmic scene. The next specialty act stars Hans Pantar and Maureen, who pull off some hair-raising stunts with crossbows. Hans aims one of the deadly weapons over his shoulder and, after some careful direction from Maureen, hits his target while barely missing his wife. And later, for the finale, he painstakingly sets up a chain reaction involving seven bows, an apple and his own well-being; he fires, and in a split second the seventh arrow splits the apple placed atop Hans?╟╓s head?╟÷if allj goes as planned, that is. This segment j is sure to draw plenty of gasps from? onlookers. Unless Hans doesn?╟╓t make it, ?╟úJubilee!?╟Ñ quickly moves to the early 20th century, where we catch up to the Titanic preparing for its fateful maiden journey. There?╟╓s plenty oflev^ ty and spirited anticipation on the L Pay close attention to the first specialty act, Bob Amo. He?╟╓s easily the fastest and most clever pickpocket around, though unlike the street variety, he?╟╓ll return whatever he ?╟úrips off?╟Ñ ?╟÷ or so one hopes. He doesn?╟╓t stop at the usual pinching of wallets, watches and pocket contents. Nothing a ?╟úvictim?╟Ñ possesses is safe from Arno?╟╓s lightning lifts. And although he makes his brand of thievery respectable, he nevertheless generates a lurking sense of danger, proving again and again that no one is immune to his cunning diversions. All Amo needs is a minute to go from ?╟úzero to 60 laughs a minute.?╟Ñ He shifts an audience through a full range of emotions: confusion, surprise, admiration, intrigue and awe. From then on, he maintains a steady pace of hilarity. Ready for a reading from the Old Testament? This interpretation of the ?╟úSamson and Delilah?╟Ñ legend is pure Arden. First we see a grand processional, complete with heralds and story tellers who signal Delilah?╟╓s entrance. The Biblical temptress attends ?╟úA Royal Banquet in the Exotic Philistine Palace in Zorah,?╟Ñ along with queens from distant lands. This marks the first time the audience gets the full idea of what a staging triumph ?╟úJubilee! ?╟Ñ is?╟÷the segment?╟╓s incredible set utilizes not only the main area, but the theater?╟╓s smaller ?╟úside stages?╟Ñ On The Covers Jubilee!?╟Ñ: Vegas?╟╓ special-effects favorite By Victor Williams Every night they line up, hundreds of Ziegfeld Theatre visitors, anxious to catch the best production show Bally?╟╓s, and possibly the entire city of Las Vegas, has to offer. They?╟╓ve lined up for over 10 years, and for very good reason. It?╟╓s ?╟úJubilee!?╟Ñ time. This is no ordinary feathers-ahd-sequins revue, though such trademarks have their place here. Beautiful women and bare breasts? Of course. Incredible special effects? Truckloads. A dull moment? Never. ?╟úJubilee!?╟Ñ is the brainchild of producer Donn Arden, who also created the Stardust?╟╓s long-running ?╟úLido de Paris?╟Ñ as well as ?╟úHello Hollywood, Hello!?╟Ñ, which completed an 11-year run at Bally?╟╓s Reno in 1989. The man has a penchant for taking straightforward song and dance, adding the best and brightest costumes, mixing in amazing sets ?╟÷ and then stirring in an expensive, sometimes mind-boggling brew of ambitious, even apocalyptic wizardry (more on that later), punctuating it all with three ?╟úspecialty?╟Ñ acts that break things up and keep them together at the same time Try to find a show like ?╟úJubilee!?╟Ñ anywhere else in the world, and you?╟╓ll end up back here on the Strip, pining for another look. Even Broadway gurus like Andrew Lloyd Webber would be impressed. It?╟╓s with a tribute to just that institution ?╟÷ Broadway ?╟÷ that ?╟úJubilee!?╟Ñ begins. A sea of white tuxedoes do the ?╟úJubilation Strut?╟Ñ; then the nudes take the spotlight for a few seconds, and suddenly we?╟╓re heading back in time for a quick stop at vaudeville to hear its signature songs ?╟÷ ?╟úToot Toot Tootsie,?╟Ñ ?╟úChasing Rainbows?╟Ñ and a Jolson-crooned ?╟úSwanee.?╟Ñ Feathers abound, and by now the entire audience is swept away in the spectacle %and they ain?╟╓t seen nothin?╟╓ yet. After a ?╟╓40s-inspired ?╟úLove Story?╟Ñ interlude starring principal dancers Lesley Bandy and Gregg Sumner (bothare ?╟úHello Hollywood?╟Ñ alumni), the rock and roll of the ?╟╓50s takes over. Everybody?╟╓s wearing green and pink costumes reminiscent of those teenage sock-hops, and there, at the rear of the huge stage, standing alone 15 feet or so above the others, is Elvis. He swivels and shakes to the hilt as a bunch of frenzied fans and followers look on, giving him his royal due. The next scene is another flashback, this time to the silent movie era. It has a ?╟úPerils of Pauline?╟Ñ storyline; our heroine gets into one misadventure after another with great apes, locomotives and such, and finally she?╟╓s chased down and stripped of her upper-crust dignity, among other things. This dazzling first act ends with a colorful ?╟úKaleidoscope?╟Ñ scene and a ?╟úThat?╟╓s Entertainment?╟Ñ finale led by the show?╟╓s lead male singer, who?╟╓s surrounded by yet more feathers and beautiful txxlies. Page 4, FUN & GAMING, January 4-10, 1991