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    Times Square May Get One of the Few Spectacles It Lacks: A Casino

    The battle to win a New York City casino license has heated up in Manhattan, with real estate and gambling giants offering competing proposals for Times Square and Hudson Yards.Times Square, New York City’s famed Crossroads of the World, could hardly be considered lacking. It has dozens of Broadway theaters, swarms of tourists, costumed characters and noisy traffic, all jostling for space with office workers who toil in the area.Now one of the city’s biggest commercial developers is pitching something that Times Square does not have: a glittering Caesars Palace casino at its core.The developer, SL Green Realty Corporation, and the gambling giant Caesars Entertainment are actively trying to enlist local restaurants, retailers and construction workers in joining a pro-casino coalition, as the companies aim to secure one of three new casino licenses in the New York City area approved by state legislators earlier this year.The proposal has enormous implications for Times Square, the symbolical and economic heart of the American theater industry, and a key part of the city’s office-driven economy. Although foot traffic in Times Square was almost back at 2019 levels during recent weekends, theatergoers and office workers have been slower to re-embrace a neighborhood where violent crime has risen.Overall attendance and box office grosses on Broadway are lagging well behind prepandemic levels, and there is considerable anxiety within the industry about how changes in commuting patterns, entertainment consumption and the global economy will affect its long-term health.A casino in Times Square faces substantial obstacles. There is already a competing bid for a casino in nearby Hudson Yards from another pair of real estate and gambling giants, Related Companies and Wynn Resorts.And with casino bids also taking shape in Queens and Brooklyn, there is no assurance that the New York State Gaming Commission will place a casino in Manhattan, let alone Times Square, one of the world’s more complex logistical and economic regions.Few things change in Times Square without notice or protest. When the city installed pedestrian plazas in the area more than a decade ago, the move was widely condemned and even lampooned by late-night talk show hosts, before being eventually embraced as an innovative foray in urban design. When the neighborhood’s army of costumed characters gained a reputation for aggressive solicitation, the city restricted them to designated “activity zones,” raising free speech concerns.Now critics worry that putting a casino at 1515 Broadway, the SL Green skyscraper near West 44th Street, would alter the character of a neighborhood that can ill afford to backslide toward its seedier past, and further overwhelm an already crowded area.In a copy of a letter soliciting support for the casino, which was obtained by The New York Times, the companies promised to use a portion of the casino’s gambling revenues to fund safety and sanitation improvements in Times Square, including by deploying surveillance drones.Yet the idea of a casino has already found an influential opponent: the Broadway League, a trade association representing theater owners and producers. On Tuesday, the league sent an email to its members saying it would not welcome a casino to the neighborhood.“The addition of a casino will overwhelm the already densely congested area and would jeopardize the entire neighborhood whose existence is dependent on the success of Broadway,” the league said in a statement. “Broadway is the key driver of tourism and risking its stability would be detrimental to the city.”The congestion in Times Square is both a closely watched sign of vibrancy and a potential irritant, particularly for commuters and theatergoers who sometimes cite the crowds and the cacophony as reasons to stay away.For New York, Times Square is an important financial engine — the city relies heavily on tourists to spend money at the neighborhood’s hotels, restaurants, stores and entertainment venues.There are ample indicators that Broadway is still struggling: Several productions, including “The Phantom of the Opera,” which is the longest-running Broadway show in history, and “A Strange Loop,” which won this year’s Tony Award for best musical, have announced plans to close.Last week, there were 27 shows running on Broadway, seen by 225,731 people and grossing $29 million; in the comparable week in October 2019, before the pandemic, there were 34 shows running that were seen by 286,802 people and grossed $35 million.Still, the Actors’ Equity Association, the labor union representing actors and stage managers, is among those supporting the casino bid, suggesting a contentious road ahead for a proposal that will face a lengthy approval process.“The proposal from the developer for a Times Square casino would be a game changer that boosts security and safety in the Times Square neighborhood with increased security staff, more sanitation equipment and new cameras,” Actors’ Equity said in a statement. “We applaud the developer’s commitment to make the neighborhood safer for arts workers and audience members alike.”The simmering tensions between local power brokers, months before the formal bidding process has even begun, foreshadow the fight ahead for developers hoping to cash in on what could become the most lucrative gambling market in the country, at a time when traditional office-using tenants have become more scarce.A state committee formed this month to review casino applications said the process would open by Jan. 6, and that no determinations on locations would be made “until sometime later in 2023 at the earliest.”In their letter seeking support for the casino, SL Green and Caesars said that gambling revenues could be used to more than double the number of “public safety officers” in Times Square and to deploy surveillance drones.The letter said a new casino would result in more than 50 new artificial intelligence camera systems “strategically placed throughout Times Square, each capable of monitoring 85,000+ people per day.” The safety plans were developed by former New York Police Commissioner Bill Bratton, according to SL Green.Mr. Bratton did not respond to a request for comment.“As New Yorkers, it’s incumbent on us to keep making sure Times Square is keeping up with the times, and doesn’t go back to what I’ll call the bad old days of the ’70s or the early ’90s,” said Marc Holliday, the chief executive of SL Green. “And we all remember what that was like, when it comes to crime, and, you know, open drug use.”The casino is expected to include a hotel, a wellness center and restaurants, right above the Broadway theater that is home to “The Lion King” musical and a stone’s throw from the site of the ball drop on New Year’s Eve.Earlier this year, the state authorized up to three casino licenses for the New York City region. Legislators have touted the union jobs, tourists and tax revenue that a casino would attract, citing the fact that the bidding for each license will start at $500 million.Two existing “racinos” — horse racetracks with video slot machines but no human dealers — are considered front-runners for two of the three licenses: Genting Group’s Resorts World New York City in Queens and MGM Resorts International’s Empire City Casino in Yonkers, N.Y.The competition for the third license features many of the country’s major casino companies. Steven Cohen, the owner of the New York Mets, has been talking with Hard Rock about a casino near the baseball team’s stadium in Queens. Las Vegas Sands has been finalizing plans for its preferred casino location in the area, and Bally’s Corporation has been scouting for a development partner.The Wynn-Related proposed casino would be on the undeveloped western portion of the Hudson Yards, which was supposed to be completed by 2025 and include residential units and parks. Related, the developer of Hudson Yards, said it plans to fulfill all of its prior housing and public space commitments for the area.In a private pitch deck obtained by The Times, Wynn and Related wrote that Hudson Yards, near the Javits Center, was the ideal location to target “diverse upscale” guests for a casino resort complex.“Because it attracts the upper tier of gaming consumers, Wynn is able to dedicate less than 10 percent of its resort space to gaming, yet still generate significant gaming revenue and tax benefits for municipalities,” reads a slide in the deck.The deck also features photos of an outdoor man-made waterfall — and of a couple enjoying cocktails while watching a cigarette-holding animatronic frog, apparently from Wynn’s “Lake of Dreams” show.In their pitch letter, SL Green and Caesars said the casino was a “once in a lifetime opportunity to once again solidify Times Square as the world’s greatest entertainment area.”Community support is an integral ingredient to winning state approval for a casino license.The Broadway League’s “influence and clout and understanding of what theatergoers want is crucial to the future of Times Square, and if they’re opposing this proposal, I don’t see how it proceeds,” said Brad Hoylman, the state senator representing the district that encompasses Times Square.But Andrew Rigie, president of the New York City Hospitality Alliance, which represents the city’s restaurants and bars, said the group would support a casino in Manhattan if it used local restaurant operators or provided vouchers to nearby eateries. A major question surrounding the economic impact of casinos is whether they incentivize guests to stay and eat inside the building, which could hurt surrounding businesses.Alan Rosen, the owner of Junior’s Cheesecake, a restaurant chain with locations in Times Square and at the Foxwoods Resort Casino in Connecticut, said he was unconcerned.“I can’t see it hurting my business,” he said. “Look at Las Vegas. What do people do? They eat. They go to shows. It’s a lot more than gambling these days.” More

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    Headliners and Headdresses Return to Las Vegas. Will Tourists Follow?

    The first shows to reopen face a challenge: It is hard to draw audiences without tourists, but hard to draw tourists without shows.LAS VEGAS — Penn Jillette, one half of the Penn & Teller magic and comedy act that has helped define nightlife in Las Vegas for decades, bounded onto the stage the other night and looked across a maskless but socially distanced audience scattered across the theater at the Rio All-Suite Hotel & Casino.“We just did 421 days without a live show,” he said, referring to the forced sabbatical that stretched through the end of April, his silent partner, Teller, finally back at his side. “Boy, it’s nice to see people in the theater.”The next morning, less than a mile away, a troupe of acrobats from Cirque du Soleil was somersaulting through the air, all wearing masks, as they warmed up on a steel frame ship swinging over a 1.2 million-gallon pool in anticipation of reopening “O” in July and a second show, “Mystère,” later this month. By the end of the year they hope to have seven Cirque du Soleil shows back at full capacity.Fifteen months ago, this bustling tourist destination in the desert shut down almost overnight, as theaters, restaurants and casinos emptied out and Las Vegas confronted one of the biggest economic threats in its history. The stakes could not be higher as the Strip tries to emerge from the shadow of the pandemic and the first crop of shows face a challenging reality: It is hard to open shows without tourists, and it’s hard to draw tourist without shows.But a walk through its bustling sidewalks last week suggests an explosion of activity, befitting — in its extravagance, and this city’s appetite for risk — what has always made Las Vegas what it is. The change since last spring, as measured by the return of surging morning-to-midnight crowds, is head-snapping. While just 106,900 tourists visited Las Vegas in April 2020, according to the Convention and Visitors Authority, some 2.6 million people visited this April — a big rebound, but still almost a million shy of what the city was attracting before the pandemic.Penn & Teller recently performed for 250 people scattered around its 1,475-person auditorium. But with restrictions easing, they are increasing capacity — and plan to play to full houses by the end of summer.Joe Buglewicz for The New York Times“You’re in a town that was very irresponsible before,” Jillette said in an interview, remarking on the exuberance of the reopening. “Not the residents, but the people who come to visit Vegas. People who don’t smoke cigars, smoke cigars. People who don’t drink martinis, drink martinis. People who don’t have irresponsible sex, have irresponsible sex. They are proud of it.”Las Vegas began filling its theaters ahead of New York, where most Broadway shows will not reopen until September, and other cities, though many are now rushing to catch up. “I don’t know if culturally that’s a good thing,” Jillette said. “But I will tell you I believe we’re right this time.”The city’s tourism-powered economy was staggered during the pandemic, as Americans avoided airplanes, restaurants, theaters and crowds. Those days seem to be over.“As soon as the governor and the county said we could open, the resorts wanted us to open,” said Ross Mollison, the producer of “Absinthe,” a cabaret and adult humor show, whose website reassures guests by saying, “When you arrive at Absinthe, the Green Fairy promises you filthy fun in a spotless venue.” Penn & Teller had their first Las Vegas show in 1993, and have performed at the Rio since 2001.Joe Buglewicz for The New York TimesPenn & Teller started slowly, as they reunited an act whose first Las Vegas show began in 1993, in deference to the wishes of its performers as well as to state and local health regulations. Their first show was April 22, after both men were vaccinated. By last week 250 people were scattered around its 1,475-person auditorium as the lights dimmed one night just after 9 p.m. But with Nevada Covid-19 restrictions lifted as of June 1 by order of the governor, Steve Sisolak, the show is moving to increase capacity: It plans to sell every seat by the end of the summer, said Glenn S. Alai, its producer.They are at the front of a parade. David Copperfield is up and running, as is “Absinthe,” the Australian Bee Gees, Rich Little and a Prince tribute show. A six-show residency by Bruno Mars at Park MGM in July is sold out, and Usher, Miley Cyrus, Donny Osmond, Barry Manilow, Dave Chappelle, Garth Brooks and Bill Maher are all coming to town. Star D.J.s have been lined up by the city’s mega clubs.A dress rehearsal of “O” by Cirque du Soleil at the Bellagio Hotel & Casino. Performances begin on July 1.Joe Buglewicz for The New York TimesShow business has always been big business in Las Vegas, but it has become even more vital in the decades since the region lost its near-monopoly on legal casino gambling. Before the pandemic, there were more than 100 theaters in Las Vegas, with a combined 122,000 seats, plus 18 arenas that can hold another 400,000 people.About half of the 42 million people who come to Las Vegas in a typical year attend a show, said Steve D. Hill, the president of the Las Vegas Convention and Visitors Authority. “It’s a huge draw, it’s a huge part of the city,” he said. “It’s part of what creates the energy of this place.”Ana Olivier, a designer, and her husband, Van Zyl van Vuuren, a data scientist, bought tickets to four shows when they came here from Atlanta for a week’s long vacation.“Honestly, we just want to get out of the house,” Olivier said as they waited to enter Penn & Teller.Las Vegas is marking this moment with characteristic excess: A fireworks display will light up a long stretch of Las Vegas Boulevard on Independence Day, a coordinated display (produced by Grucci, of course) choreographed off the roofs of seven casinos.Cirque du Soleil hopes to have seven shows running in Las Vegas at full capacity by the end of the year. Performers warmed up for a rehearsal.Joe Buglewicz for The New York TimesThe more cautious approach being taken by most Broadway producers reflects the differences between the two cultures. Broadway theaters tend to be older and smaller, with cramped lobbies, bars, bathrooms and seats. As a matter of pure economics, it is not feasible to socially distance and sell enough seats to cover costs.Theaters in Las Vegas are typically vast and roomy, built into sprawling casino complexes.The pressure to reopen them, from business and political leaders, was huge. Shows are powerful revenue drivers for casinos, not only from box office receipts but for the way they attract tourists and typically require customers to wander through a tempting maze of slot machines, gaming tables, restaurants and bars to find their way to the entrance of the theater.For many shows it has been a slow climb to reopening, as they navigated changing regulations and gauged the eagerness of crowds to return. “Absinthe” tried opening in October, but as it was only allowed to sell a small fraction of its 700 seats, it soon shut down again: Producers decided it was not economically feasible for a show with a large cast and crew. It reopened again in April when it was allowed to increase capacity.Cirque du Soleil performers had to be fitted for costumes and wigs that had been sitting untouched for more than a year.Joe Buglewicz for The New York TimesFor all the optimism in the air, there are still reminders that this remains a moment of uncertainty. Performers, crew members and visitors to “O” rehearsals were required to get coronavirus tests to enter the theater. Performers wore masks even as they did their midair acrobatics, or went to subterranean dressing rooms to try on costumes and wigs that had been sitting untouched for more than a year. (The mask requirement was waved for swimmers and scuba divers.)Penn & Teller have had to make adjustments. They no longer rush to the door to shake hands with fans as they leave, a tradition for 45 years. And now, when they seek volunteers from the audience to come onstage, they relegate them to a chair at the end of the stage, well away from Jillette or Teller.The rehearse-in-masks requirement was waived for one set of Cirque du Soleil performers: its swimmers.Joe Buglewicz for The New York Times“You won’t find me strolling around in a supermarket without a mask for a while,” Teller said in an interview. “I am going to stick with the most careful protocols that are around. We are dying to have people onstage. Obviously we are not going to jump into that until we are confident that is the safe thing to do.”Signs posted in casinos announce that vaccinated people do not need to wear masks, but that those who have not been vaccinated must cover their mouths — not that there are enforcers walking around the casino floors demanding C.D.C. vaccination cards. That means that “O” cast and crew walk out of the high-precaution Covid-is-still-with-us environment of their theater and into the decidedly laxer world of the rest of Las Vegas.The travel and leisure audience alone will not be enough to assure that entertainment in Las Vegas can return to what it was. The key question now is whether convention business returns after the Zoom era. Alan Feldman, a fellow at the International Gaming Institute at the University of Nevada, Las Vegas, said that was what he was watching most closely, although he said the rising interest in tourism was a good sign. “There is clearly pent-up demand for Las Vegas,” he said.Tourists are coming back, if not yet at pre-pandemic levels. The next question is whether the convention business will rebound after an era where remote meetings flourished.Joe Buglewicz for The New York TimesProducers, having weathered what most described as the most difficult time of their careers, are hopeful that in the weeks ahead, Las Vegas will show the world that it is safe to return to something close to business as usual.“I am very confident,” said Daniel Lamarre, the president of Cirque du Soleil. “We are selling at a pace that is double what we do normally. It indicates to me that people are just crazy to go out and see humans perform. ”Tourists make up the overwhelming majority of people who come to the Strip, but some Las Vegas area residents venture out as well. John Vornsand, a retired Clark County planner who lives in nearby Henderson, had not seen a show here since Rod Stewart performed in 2019 at Caesars Palace. He was back the other night with his wife, Karen, for Penn & Teller.“I bought the tickets the first day they were out,” said Vornsand, who is vaccinated. “I said, ‘It’s her birthday and that’s it.’”“We don’t feel uncomfortable,” he said. “Although I do have a mask in my pocket.” More

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    Siegfried Fischbacher, Magician of Siegfried & Roy, Dies at 81

    AdvertisementContinue reading the main storySupported byContinue reading the main storySiegfried Fischbacher, Magician of Siegfried & Roy, Dies at 81Mr. Fischbacher’s death came months after that of Roy Horn, his partner in one of the most spectacular shows in Las Vegas history.The illusionist Siegfried Fischbacher in 2008. Together, he and Roy Horn captivated Las Vegas audiences for decades.Credit…Mark Sullivan/Getty Images for CineVegasRichard Sandomir and Jan. 14, 2021Updated 6:30 p.m. ETSiegfried Fischbacher, the German-born magician who was half of Siegfried & Roy, the team that captivated Las Vegas audiences with performances alongside big cats, elephants and other exotic animals, died on Wednesday night at his home in Las Vegas. He was 81.The cause was pancreatic cancer, said his publicist, Dave Kirvin. Mr. Fischbacher’s longtime partner in the production, Roy Horn, died of complications of Covid-19 in May at 75.For a time, the team’s name was all but synonymous with Las Vegas show business, with spectacular performances that combined smoke machines and white tigers, lasers and elephants, sequined costumes, snakes and illusions of metamorphosis.Their long-running production at MGM’s Mirage hotel and casino was one of the most lavish and successful in Las Vegas history.Mr. Fischbacher, left, and Roy Horn with Mantecore, the tiger that mauled Mr. Horn in 2003.Credit…Peter Bischoff, via Getty ImagesThe pair’s show ended in October 2003, after Mr. Horn was mauled by a 400-pound white tiger named Mantecore, which dragged him offstage before a stunned capacity crowd of 1,500 at the Mirage.The attack left Mr. Horn with lasting damage to his body. After he spent years recovering, the team made one final appearance, with Mantecore, at a benefit performance for the Lou Ruvo Center for Brain Health in Las Vegas in February 2009. They retired from show business in 2010.Mr. Horn, left, and Mr. Fischbacher in New York in 1987 with the rare white tigers Neva, left, a female, and Vegas, a male.Credit…Scott Mckiernan/Associated PressMr. Fischbacher and Mr. Horn, who were domestic as well as professional partners, kept dozens of exotic cats and other animals in the Secret Garden and Dolphin Habitat, a glass-enclosed, tropically forested habitat at the Mirage; at Jungle Paradise, an 88-acre estate outside town; and at Jungle Palace, their $10 million Spanish-style home in Las Vegas.“From the moment we met, I knew Roy and I, together, would change the world,” Mr. Fischbacher said in a statement after Mr. Horn’s death. “There could be no Siegfried without Roy and no Roy without Siegfried.”The two performers amazed Las Vegas audiences over four decades with stage extravaganzas that blended Mr. Fischbacher’s mastery of illusion and Mr. Horn’s preternatural ability to train and communicate with white tigers, lions and other animals.In their lavish shows, an elephant would vanish, a white tiger would turn into a beautiful woman, a tiger would appear to levitate over the audience and Mr. Horn would become a snake.The success of Siegfried & Roy’s show paved the way for more spectacular ones in Las Vegas.“Cirque du Soleil came in, you know, and Steve Wynn started that concept of Cirque in Las Vegas,” Mr. Fischbacher told Las Vegas Weekly in 2013. “The same thing that we inspired, Cirque du Soleil, inspired him.”Mr. Fischbacher was born on June 13, 1939, in Rosenheim, Germany, to Martin and Maria Fischbacher. At age 8, he became fascinated with magic when he saw a book on the subject in the window of a local store. It cost only five marks, but his mother would not give him the money; he claimed to have a found a five-mark note on a street and bought the book.When he performed a trick in which a coin vanished in a glass of water, his father praised him. “For me, having been brought up in a strict Bavarian way, it was the first time my father ever acknowledged me,” he is quoted as saying in his online biography.He was inspired by a German magician named Kalanag, whose show, Mr. Fischbacher said, was “one of the most exciting events in my life.”He left home at 17, working first as a dishwasher and bartender at a small hotel in Lago di Garda, Italy, then as a steward on the Bremen, a German cruise liner. The captain of the Bremen saw him perform magic for the crew and suggested that he perform for the passengers.He met Mr. Horn on the Bremen in 1957. Mr. Horn was a cabin boy with a love of animals who had smuggled his pet cheetah, Chico, onto the ship. They struck up a friendship, and Mr. Fischbacher asked Mr. Horn to help out with his magic act.“I did the usual thing: rabbit out of the hat and birds and so on,” Mr. Fischbacher said on CNN’s “Larry King Live” in 2003, five days after Mr. Roy’s accident. “Afterwards, I said, ‘What do you think?’ And he said, ‘Can you do what you did with a rabbit with a cheetah?’”“I didn’t know he had a pet cheetah at the time,” he added, “and I said, ‘Anything is possible.’”In 1964, five years after they started working together, they were playing nightclubs in Germany and Switzerland. When they performed at a charity benefit in Monte Carlo in 1966, Princess Grace of Monaco raved about them, giving their career a boost.As their act became more extravagant with the addition of more illusions and animals, Siegfried & Roy were booked into nightclubs throughout Europe. They made their debut in Las Vegas at the Tropicana in 1967, then moved on to headliner status at the Stardust in 1978 and the Frontier, where the marquee billed them as “Superstars of Magic.”Steve Wynn, who built the Mirage, signed them to a five-year, $57.5 million contract in 1987, three years before the hotel and casino opened. The deal included building a theater to Siegfried & Roy’s specifications. Mr. Wynn quickly cashed in on his expensive bet when they began to sell out immediately. They grossed an estimated $30 million in 1990 (about $60 million in today’s dollars).They were “the single most successful entertainment attraction in Las Vegas history,” Mr. Wynn was quoted as saying on the ABC News program “Nightline” in 2019.“Thirty years, 48 weeks a year, capacity business,” he added.Their act ended abruptly on Oct. 3, 2003 with the mauling of Mr. Horn after 5,750 performances at the Mirage. During their performance, he stumbled onstage — both he and Mr. Fischbacher said he had probably had a stroke — leading Mantecore to grab him by the neck and drag him offstage, causing an extreme loss of blood.Mr. Horn believed the tiger, sensing he was ill, was trying to protect him. Immediately after, Mr. Horn is said to have asked that no harm come to Mantecore. (The tiger was unharmed, and died 11 years later.)Mr. Fischbacher is survived by his brother, Marinus, and his sister, Margot, a Franciscan nun who goes by Sister Dolore.Speaking to Larry King in 2003, Mr. Fischbacher talked about the connection that he and Mr. Horn had with their audience, some of whom came hundreds of times.“I’m OK,” he said. “I’m good. I love my audience. I love the audience like Roy loves the animals, and this combination together, it worked, you know.”AdvertisementContinue reading the main story More