Lead dancer Jennifer Ross, left, paces the cast of "Fantasy" in new dance pieces overseen by pop concert and video choreographer Cris Judd.

Does the incoming wave of established Broadway hits mean the end of the indigenous Las Vegas floor show?

A cynic might look at a revue such as "Fantasy" and say that if this is the best the Strip can come up with on its own, then bring on the Monty Python.

But I say the girlie show is part of the city's legacy, and the Strip would be a far sadder place without it. Especially if a show like "Fantasy" lives up to the minimum requirements of swapping in a few new music and dance numbers every year or so to justify its place as a showcase for modern dance and pop choreography. And breasts.

The show formerly known as "Midnight Fantasy" had fallen a bit behind. But after the dust settled on the acquisition of the Luxor by MGM Mirage, producer Anita Mann got the greenlight to update the revue for the first time since early 2000.

The new name does more than just eliminate confusion about a show that never actually started at midnight. The speedier moniker better fits a revue that gets right down to business. Gone are the old clock tower set and the nudie-channel framing device of having each dancer lip-sync a spoken narrative about her fantasy.

The new numbers are overseen by Cris Judd, who is best known for everything except his choreography; he was briefly "Mr. J-Lo," which proved to be his ticket to a victorious run on the reality-TV goof "I'm A Celebrity, Get Me Out of Here."

Judd and co-choreographer Eddie Garcia tap their background in music videos and concert tours to give the eight women a framework to move with controlled abandon, balancing tightly wound motion with sensuality. (I was told later, however, that many of the numbers were robbed of their atmosphere by a broken fog machine at this particular show.)

The opening number, built around the '70s funk of Alicia Keys' "Heartburn," also proves just how critical the right musical choices are. Topless shows aren't big-budget affairs, and this one illustrates the cost-effectiveness of retiring the worn-out "You Can Leave Your Hat On" for Beyonce's "Naughty Girl." Same costumes, new impact.

Stephanie Jordan carries over as the right singer for this gig. She has a body that blends right in with the dancers, and yet her lusty vocals give the effort a needed dimension beyond pure eye candy. Singing to recorded tracks is never ideal, but she never lets it bother her.

A stand-up comedy slot has been replaced by recurring physical comedy bits from Sal Salansang, who may be making history here as the first character to turn up from another Las Vegas show. It's one thing for variety acts to bounce from show to show with the same isolated routine. But Salansang interacts with the other performers, playing the same comic stagehand as he did with Rick Springfield in the final edition of "EFX."

It makes you ponder what would happen if more Las Vegas performers wandered into each other's shows, like comic book characters who form Justice Leagues and the like. If so, I've got a name for Salansang: Buzz Kill Man. He could team up with Raymond Jones, who served a similar function as Cold Shower Man in the Rio's currently tabled "Erocktica."

Truth be told, Salansang is fairly likable. He just overstays his welcome, particularly with one bit where he plays "air guitar" with a broom not once, but three times. Oh well, you look around the audience and you see this "Fantasy" plays more to couples than to groups of guys, justifying some male presence for the women.

Maybe that's something these new Broadway shows such as "Hairspray" can do to actually help the girlie shows: Pull away the couples so "Fantasy" can fully embrace its destiny.