Good evening, winners and losers
“Back in November the MGM Grand Garden Arena staged concerts by three monumental rock figures U2, Paul McCartney and the Rolling Stones” – John Katsilometes writes on the Las Vegas Sun – “All entertained in their own distinctive fashion, but none quite shouted “Vegas” like the artist who filled the MGM on Saturday and Sunday nights.
Making effective use of 15 dancers, four musicians, three backup singers, a half-dozen wardrobe changes and a multileveled set that featured several LED screens, a pair of dancing platforms flanking the stage and a giant mirrored disco ball, Madonna was uniquely at home on the Vegas stage. The dancers – an athletic lot that could perform with any Cirque production in the city – were particularly impressive.
And the crowd – including a person sitting a few rows in front of me who was either New Mexico Gov. Bill Richardson or someone who could sit in for Richardson on “Lou Dobbs Tonight” – stood almost the entire night and went nuts for the remarkably flexible 47-year-old pop icon.”
Click on the Full Article link below to continue reading this review from the Las Vegas Sun.
Thanks to codger.
The shows on Madonna’s “Confessions” tour were not tailored specifically to Vegas but did have a Sin City flavor, particularly when she slipped into a white Elvislike cape encrusted with flashing lights and “Dancing Queen” scripted across the shoulders in purple sequins.
Madonna managed a few Vegas references, including, “Good evening, winners and losers,” to start the show. While introducing Isaac Sinwahny, a vocalist and accomplished shofar (a ram’s horn usually played during Rosh Hashana and at the end of Yom Kippur), for “Drowned” and “Paradise (Not For Me),” she said, “This is Isaac – I found him at a crap table.”
The oft-reported mock crucifixion, in which Madonna was perched on a mirrored cross during “Live to Tell” fell neatly into place with the rest of the shenanigans; a personal favorite was the S&M-styled merry-go-round effect of Madonna riding in circles on a black saddle while singing “Like a Virgin.” She also played a bit of guitar, and didn’t miss a note (and she did seem to be actually singing) or a step during the tightly choreographed 2-hour show.
In fact, it was a performance that wouldn’t need to change an element to work here, five nights a week (dark Mondays and Tuesdays).