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2E/Las Vegas Review-Journal/Friday, November 18, 1988 a Hacienda?╟╓s high-energy ?╟ Hitz?╟╓ is a hip twist on tradition ^REVIEW: ?╟úHitz,?╟Ñ Hacienda was almost inevitable that someone would eventually epme along and stage a musical production show here that was loaded with music and movement that was hip, ?╟úwith it?╟Ñ and maybe a little funky without altogether abandoning the look and feel of a traditional Las Ve- French-style revile ?╟÷ the city?╟╓s trademark ^Producer Jerry Jackson, who also directed and choreographed ?╟úFire And Ice?╟Ñ at the Hatienda and the latest edition af the Tropicana?╟╓s ?╟úFolies BSrgere,?╟Ñ has done just that by putting on the ?╟úHitz?╟Ñ in his mid-sized staging. | fJi is an MTV-like offering of, rapid-fire, up-to-the-minute contemporary musical numbers with an energy level that does not let up, especially during the first act, which alone has rribfe than a dozen set and scene changes. he show features a mega-burst of rock, romance and rjiyjhm including: opener ?╟úHeart of Rock and Roll,?╟Ñ ?╟úWe B#t This City,?╟Ñ ?╟úAll Night Long,?╟Ñ ?╟úConga,?╟Ñ ?╟úRhythm is Gonna get You,?╟Ñ ?╟úDidn?╟╓t we Almost Have it All?╟Ñ and ?╟úBad.?╟Ñ Plus: ?╟úPink Cadillac,?╟Ñ ?╟úStep by Step,?╟Ñ ?╟úGirls Just Wanna Have Fun,?╟Ñ ?╟úSomewhere out There,?╟Ñ ?╟úSweet Dreams,?╟Ñ ?╟úAnything for You,?╟Ñ ?╟úGhostbus-ters,?╟Ñ ?╟úBetween the Moon and New York City,?╟Ñ ?╟úI?╟╓ll Tumble for You,?╟Ñ ?╟úWhat?╟╓s Love got to do With It,?╟Ñ ?╟úLand of a Thousand Dances,?╟Ñ ?╟úNew Attitude,?╟Ñ ?╟úNeutron Dance,?╟Ñ and the finale, ?╟úGreatest Love.?╟Ñ The show contains an interesting mixture of contemporary music, choreography and costuming with topless showgirls, feathers, staircases and other traditional revue elements. Some of the best parts of the show are those that bear the Jerry Jackson trademarks found in the neighboring ?╟úFolies?╟Ñ and elsewhere: Simple, flowing costuming that doesn?╟╓t get in the way of the dancers yet doesn?╟╓t eliminate feminine allure either, lightwall backdrops that silhouette performers; brightly colored sets and scenes alternating with simple black-and-white ones; and his own choreographic style. Gne of those performers that is sure to become a local star (at least) is principal dancer and adagio team member Jeanne Houts. She has the looks, talent, personality and style of those great principal dancers of the best of the lavish spectaculars who were as much Las Vegas stars as the big names on the celebrity room marquees. She is as technically on the mark as she is striking. Her partner, Barry Morgan, who danced for several years with her in the ?╟úFolies?╟Ñ across the street, also has a warm stage personality instead of the stoic, overly sophisticated attitude many male adagio team members try to pull off. Their work together is exciting to watch. They?╟╓ve brought back the simple smile to adagio artistry. It doesn?╟╓t detract from the art, but does help draw the audience into the atmosphere. The vocal stars, Richie Sacks and Marilyn Kaye, are both ?╟úlookers?╟Ñ with exceptional voices who are not newcomers to the Las Vegas revue stage. He, being showcased in a new venue, previously portrayed Mario Lanza in ?╟úLegends In Conceit,?╟Ñ and she, an airy character in ?╟úA.M. ?╟÷ A Blast From The Past,?╟Ñ are both being asked to meet the extraordinary challenge of trying to perform in several different vocal styles. Some of them are contradictory to their voices and looks. In,most cases, though, both ?╟? are up to the challenge, excelling on love ballads and uptempo soft rock.