Lenny Kravitz is an artist who keeps cool and runs hot. He lit up Dolby Live on Wednesday night, the midpoint of his extended run at the Park MGM theater.
The flame won’t burn long enough for those who want to see this quickie five-show run, ablaze with hits and coming off Kravitz’s latest release, “Blue Electric Light.”
At 60, Kravitz is rocking as hard as ever, seeming to alternate between the studio and gym. In his debut at Dolby Live, Kravitz is back Friday and Saturday night.
A physical force and guitar virtuoso (toggling the six-string and bass), Kravitz and his tight backing band fired off “Are You Gonna Go My Way,” “It Ain’t Over ‘Til It’s Over,” “American Woman” and “Fly Away.”
The headliner was featured in multiplicity across the LED screens, took to a platform at the side of the stage to play the bass, was depicted in cherry-red during “Always On The Run” and strummed the acoustic guitar for the beautiful “Believe.”
Halting the music mid-performance, Kravitz gave a shout to one “Mr. White,” a tutor and idol since he was a kid. This was Verdine White of Earth, Wind and Fire, grooving to great satisfaction in the VIP section.
Kravitz is also a model rocker, fashion-wise. He led a shopping spree at Las Vegas designer Wassa Coulibaly’s Baobab Stage boutique last week. Though not in her wares Wednesday, he stalked the stage in flare jeans, oversized “fly”-style sunglasses (reminding me of Bono’s frequent stage shades) and a leather jacket he doffed to show off a thin, lustrous tank top. Or maybe a refashioned scarf.
Whatever, Kravitz dressed like a rock star. He’s got the funk/glam/retro/rock vibe down.
Kravitz’s show is the latest high-profile show to perform at Dolby Live, following Maroon 5 and preceeding Bruno Mars’ return in December, and Mariah Carey, Mötley Crüe and New Kids on the Block next year.
The close was a grandiose celebration of unity, with Kravitz wading through the crowd for 10 minutes during an extended “Let Love Rule.” It was a song, and request, from a person completely comfortable in his fame.
A classic takes flight
The DeLorean was presented as the car of the future when it was first marketed in 1981. The two-passenger sports car’s future fizzled just two years later.
But here we are, lo so many years later, with DeLorean still part of pop culture. A retrofitted DeLorean time machine is the signature stage effect in “Back To The Future.” The touring show is running (more efficiently than an original DeLorean) through Nov. 3 at the Smith Center.
The DeLorean in the touring show has been constructed to the specifications of the model used in the 1985 “Back To The Future” movie.
“This is an exact replica of the DeLorean from the movie,” the show’s production stage manager, Eric Sprosty, said in a phone chat last week. “When the creators were putting together the show, when they first started previews, they would get notes from audience members, ‘Hey, it’s missing these lights here on the inside.’ I mean there are people that are just extreme fans of the show.
Sprosty is a veteran of live theater. He’s worked on the Broadway productions “Jekyll & Hyde,” “Movin’ Out,” and “Fosse.” His tour resume includes “Tina: The Tina Turner Musical,” “Beautiful: The Carole King Musical,” “The Phantom of the Opera” and “West Side Story.”
But technologically, “Back To The Future” stands alone.
“I’ve been doing stage managing for touring shows for over 20 years,” Sprosty said. “This is by far the most technically complex show that I’ve ever done.”
Don Stephenson reprises Christopher Lloyd’s role as Doc Brown. Caden Brauch plays Marty McFly, famously portrayed by Michael J. Fox. Bob Gale, who wrote the original screenplay with Robert Zemeckis, is also on the tour’s creative team.
The effort has been to bring the iconic film to life, and take crowds on a trek through time.
“They have been able to recreate the whole driving sequence of the movie, going to the clock tower and hitting the cable and going back to the future,” Sprosty said. “The movie was so episodic, they were able to capture that essence in the live production.”
One year on
“Lady Like,” the underdog comedy burlesque production at Virgin Hotel’s 24 Oxford, is celebrating its one-year anniversary this month. Creators Jaimee Gallego and Summer Soltis have navigated the production since its days at the since-destroyed Mosaic on the Strip.
Tease this …
“Lady Like” headmistress Maren Wade is bringing her “Confessions Of a Showgirl” to Myron’s at 7 p.m. Nov. 6, which is why she was hanging around the Smith Center on Monday dressed in a full showgirl costume. “I was making my rounds,” she said. “I ran into some construction workers, ‘Hey, I have a great show for you to see.” She does. Get there.
What Works in Vegas
“Zombie Burlesque” at V Theater at Miracle Mile Shops at Planet Hollywood. It was slammed, again, on Tuesday night. In a show full of swings, David Villella filled in terrifically for Enoch Augustus Scott. Rampant frivolity, sexy, funny, and also a Jell-O box dancing with a Smirnoff bottle.
Cool Hang Alert
From 9 p.m.-1 a.m. Sundays, “Skye Dee Miles Presents Peacock Jazz” is featured at Juliet Cocktail Room at The Venetian. Miles always delivers, vocally and stylistically. No cover. Pretty scene.
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 X, @JohnnyKats1 on Instagram.