‘Absinthe’ can’t make it work under current COVID rules
“Absinthe” can’t afford these pandemic restrictions. It’s a big production that prefers to play it big. As it is, the show’s audiences could fit inside a tent you’d find at Target.
We’re exaggerating. Almost. But the latest COVID message from the hit show is if it doesn’t get bigger, it will go home.
“We can’t stay open with 50 seats,” “Absinthe” producer Ross Mollison said Tuesday by phone from Brooklyn, where he has been staying this month after he scrapped plans to fly back to Vegas. “If we have to stay at 50 seats, ‘Absinthe’ will close. We have been willing to suffer financially for three weeks and have kept the show going safely, just to do the right thing for our company.”
“Absinthe” is Spiegelworld’s unqualified hit show and a focal point during COVID reopening. The production at the Spiegeltent at Caesars Palace is facing a daunting dilemma under current pandemic safety directives. This is a show that — pre-COVID — filled a 660-seat theater 14 times a week.
As any kid with an abacus can figure, “Absinthe” cannot turn a profit playing to 50 ticket buyers per show. The show is running in the red, as opposed to not running at all.
As Mollison said, “We can’t go on indefinitely this way.”
The production is performing at a loss anyway, fingers crossed that Gov. Steve Sisolak might return to a 250-person minimum for public gatherings statewide. It was already under a pressure test while performing at 150 or so seats. That was before the governor’s three-week “pause” was announced Nov. 22, cutting the limits to public gatherings to 50 people.
The state’s surging COVID statistics indicate there won’t be a relaxation of public-gathering restrictions, or a return to the 250 limit, anytime soon.
But Mollison has been petitioning the governor’s office to make an exception for “Absinthe,” hoping his show’s stringent health-safety measures will allow it to continue to perform. Spiegelworld has arranged to test its cast and crew every week, and is able to isolate anyone who tests positive.
The “Absinthe” tent itself is regularly disinfected, seating is distant to the defined requirements, performers and audience members masked.
These modifications have become givens during the coronavirus crisis, of course. A month ago, Spiegelworld officials were optimistic they could keep “Absinthe” onstage, while also reopening “Atomic Saloon Show.” The company had a plan to stage that show at Palazzo Theater beginning Jan. 6, temporarily moving it from its Atomic Saloon venue at The Venetian’s Grand Canal Shoppes. The company even inadvertently posted a YouTube video announcing the move.
But “Atomic” is now idling, waiting for the time when larger audiences for live entertainment are permitted.
Already, many shows that had returned in the 250-limit have gone dark. That includes MGM Resorts International’s David Copperfield, Carrot Top, Jabbawockeez, Brad Garrett’s Comedy Club, Australian Bee Gees and Thunder From Down Under shut down immediately after Sisolak’s announcement.
Piff The Magic Dragon, who had moved into the larger Flamingo Showroom, couldn’t justify continuing for 50 people per show and is performing strictly online. Tape Face at Harrah’s Showroom has managed to continue running, to 50 humans (and 100 mannequins). “X Country” remains onstage at Harrah’s Cabaret, as does the lineup of Murray Sawchuck, Rich Little and stand-up comedy rotation at Laugh Factory at Tropicana.
Mollison, naturally, is eager for vaccines to be distributed across the community. He’s offered to be injected himself, on video, as he said during the “VEGASHITSHOW Episode 10,” the company’s YouTube series. The producer who has dubbed himself “Impresario Extraordinaire” refers to the moment in 1956 when Elvis Presley received a polio vaccine on TV.
The producer has doubtless tried every avenue to bring live entertainment back to the Strip.
“We have shown that we are operating in a safe environment,” Mollison said. “We’re asking the governor to reconsider the limits put on our show, so we can keep some of our people working, and put the people who are unemployed back to work. It’s been nine months for most of our cast and crew. We are now heading into Christmas. We need to get back to what we do and stop the suffering.”
Lacing ‘em up
Jamie Hosmer, a member of the Las Vegas COVID Shutdown Hall of Fame (and yes, we are putting a list together), has released “Comfortable Shoes” on Spotify, Apple Music and all music-streaming services. Hosmer has been soaring on Facebook Live throughout the pandemic, has appeared on national TV on Fox’s “I Can See Your Voice,” and of course is performing online with his regular band, Santa Fe & The Fat City Horns.
As always, Hosmer is in fine voice and musically dexterous. His guest players including Jerry Lopez, Dave Richardson and Rochon Westmoreland of Santa Fe and that band’s horn section; Hammond B-3 master Ronnie Foster; singer-songwriter Michael Peterson; Michael Cavanaugh of the Billy Joel musical “Movin’ Out’; guitar virtuosos Christian Brady and John Wedemeyer; high-demand bassist Dave Inamine (the Australian Bee Gees among his gigs), and vocalist Rob Hyatt of Fifth Avenue.
The string section includes musicians who have performed for such superstars as Aerosmith, Shania Twain and Celine Dion. That lineup is Jennifer Lynn, Monique Olivas, Crystal Yuan and Mandy Andreasen.
Santa Fe fans will recognize “The Answer,” one of the highlights on the nine-song release.
Hosmer’s “Comfortable Shoes” title is from the song’s lead track, a message to be unafraid to chart new paths. That title also matches Clint Holmes’ autobiographical musical, which was written in 1996 and was showcased six years later. Hosmer played in Holmes’ backing band at Harrah’s for six years and these two are friends.
Holmes is fine with Hosmer’s decision to call the album “Comfortable Shoes.” We can’t resist noting that both projects have (pause) sole (boom!).
Great Moments In Social Media
Carrot Top jokes in his show about the time he was asked if he is the real Carrot Top, or an impersonator. “A Carrot Top impersonator? How sad is that.”
But the prop comic might happened upon someone who could play him in “Legends In Concert,” while walking the streets of Winter Park, Florida. The topper ran into young guy on an electric scooter, wearing a Vans T-shirt and a backward Florida Gator hat with long, curly red hair.
This guy looked like Carrot Top from the mid-1990s.
“Dude?” Carrot Top said as he approached the unidentified person from behind, grabbing playfully at his hair.
“What!” the stunned kid said, turning around.
“Sorry!” Carrot Top (legal name Scott Thompson) called out. “I thought you were me!” Then he said, to onlookers, “That’s Carrot Top Jr., right? I told my son, he’d better behave!”
The kid laughed a little, but was clearly nervous.
“He was so shocked,” the comic said in a text message after posting. “He was shaking when I was tlaking to him. He said he couldn’t believe it was me.”
The Review-Journal is owned by the family of Las Vegas Sands Corp. Chairman and CEO Sheldon Adelson. Las Vegas Sands operates The Venetian and Palazzo.
John Katsilometes’ column runs daily in the A section. His “PodKats!” podcast can be found at reviewjournal.com/podcasts. Contact him at jkatsilometes@reviewjournal.com. Follow @johnnykats on Twitter, @JohnnyKats1 on Instagram.
