Artist JW Caldwell enjoys Jones Ranch Egypt exhibition at ASAP / Photo Courtesy Gig Depio

ASAP: Las Vegas’ Hidden Art Gem

By Laura Henkel

If you have ever doubted the presence of great art in Las Vegas, let me assure you: Available Space Art Projects (ASAP) is here to challenge that perception. Nestled within New Orleans Square, a historic enclave within the Commercial Center off Sahara Avenue, ASAP’s intimate gallery space on the second story adjacent to Liberace Way beckons art enthusiasts who are thirsty to experience Las Vegas artists in a sanctuary where they may unleash their creativity without constraints.

From avant-garde installations to traditional paintings, each month ASAP transforms into a dynamic showcase featuring a curated selection of artists spanning diverse mediums. This 550-square-foot space serves as more than just a gallery; it is a powerhouse for artistic exploration.

Founded by Holly Lay and Homero Hidalgo, ASAP has swiftly become a hub for innovation and creativity, providing a platform where artists can freely showcase their work to an audience that craves artistic craftsmanship, intellectual brilliance, and a whole lot of soul mixed with the avant-garde, embodying the vibes of Hauser & Wirth, Gagosian Gallery, and White Cube Gallery without the hefty price tags, posh venues, and exclusive zip codes typically linked to such esteemed galleries.

Jones Ranch Egypt exhibition by Brent Holmes at ASAP next to his Figure 16, Ink on Paper, 36 x 24 / Photo Courtesy Laura Henkel

Since its establishment in 2020, ASAP has stood as a beacon of creative brilliance, offering a rare chance to immerse oneself in extraordinary art from both emerging talents and renowned artists. To me, ASAP embodies the essence of ‘Sic Parvis Magna’ – greatness born from humble beginnings. Personally, I delight in discovering and acquiring artworks that deeply resonate with my soul. It is a space motivated not by profit but by a sincere dedication to celebrating art in its purest form. Artworks are presented authentically, inviting viewers to explore each piece deeply, fostering a lasting connection with the artist and enriching the experience even further.

At its core, ASAP is committed to enriching the cultural landscape of Las Vegas. By offering opportunities for both artists and audiences to connect with contemporary visual arts, the gallery sparks dialogue and cultivates intellectual growth. Whether you are a seasoned art aficionado or a newcomer to the scene, ASAP invites you to immerse yourself in a world of imagination and inspiration.

ASAP’s current exhibition, “Jones Ranch Egypt,” curated by Sydney Galindo, presents the multidisciplinary artist Brent Holmes’s profound exploration of the cultural and historical complexities of the American West. Through a lens of African American identity and the lived Black experience, Holmes challenges the prevailing myths of the cowboy archetype, reimagining a West where African traditions were not lost in the transatlantic slave trade. His art serves as a powerful reclamation of identity and a vision of an alternate, more inclusive history.

Holmes’s exploration of the cowboy mythos extends beyond traditional artistic boundaries. For him, the creative process itself is an integral part of the artwork, with each piece serving as a reflection of his journey dissecting the American mythic figure of “the Cowboy.” Through his work, Holmes invites viewers to reconsider the cultural narratives that have shaped our understanding of the American West and to envision a more inclusive and diverse history. The large hand-drawn pen and ink on paper originals are exquisite, each carrying significant meaning as Holmes delves into different facets of the Cowboy. Notably, once an original is sold – and they sell quickly – the work becomes available in open editions. Personally, I cannot help but envision one of these figures adorning a high-rise building, gracing the skyline of downtown Las Vegas. (A girl can dream!)

Step inside ASAP, and you will encounter more than just art; you will experience stories waiting to be told, emotions waiting to be felt, and perspectives waiting to be explored. From thought-provoking exhibitions to intimate conversations with the artists, every visit to ASAP is an opportunity to engage with the creative spirit that thrives within Las Vegas. It is a catalyst for cultural enrichment.

In a city known for its glitz and glamour, ASAP offers a refreshing counterpoint—a space where authenticity reigns supreme and creativity knows no bounds. Whether you are a seasoned art collector or simply curious about the local scene, ASAP invites you to embark on a journey of discovery and wonder. So come, explore, and experience the magic of Las Vegas’ best-kept secret in contemporary art. As someone deeply involved in supporting our local creative community, I can genuinely say there is nothing quite like the joy and pride that comes from discovering the incredible talents behind captivating pieces. Believe me, your next favorite art acquisition might just be waiting for you at ASAP. It is truly a hidden gem in Las Vegas’ art scene!

Please visit www.availablespaceartprojects.com or on Instagram at @availablespaceartprojects

(L-R) Giles Martin, Ringo Starr, Sir George Martin, Dominic Champagne – director, Sir Paul McCartney, Yoko Ono,
Guest, Olivia Harrison, Guy Laliberte – Cirque du Soleil founder. Photo by KMazur/WireImage via Getty Images.

The Last Great Beatles Summit:

LOVE’s Lasting Legacy

By Jeremy Louwerse and Stacey Gualandi

“There was Paul, and then Ringo, Yoko, and Olivia (Harrison), but then you looked up in the sound booth, and there was George Martin with his sleeves rolled up next to his son Giles!”

Chris Carter, the legendary host of “Breakfast With The Beatles” (on SiriusXM and KLOS in Los Angeles), is waxing nostalgic about June 30, 2006, the historic Grand Opening of Cirque du Soleil’s Beatles’ LOVE show at the Mirage Hotel and Casino on the Las Vegas Strip. Historic for many reasons, but mainly because this would be the last great gathering of the Fab Four family.

“It was like you were at Abbey Road or something!” Carter says.

After many years behind the mic of America’s longest-running Beatles show, Carter was one of the fortunate few to have a front-row seat.

Looking back, it would be a night never-to-be-repeated.

The original idea for LOVE was borne out of the late George Harrison’s imagination. He deeply desired to do more with the band’s legacy and happened to be close personal friends with Cirque founder Guy Laliberte.

When Harrison passed in 2001, his wife Olivia made George’s original vision a reality.

By 2006, the $130 million production, created by Dominic Champagne, would be Cirque’s fifth permanent showpiece in Las Vegas. Anticipation had been building for months. What was the audience going to see, hear, and experience? As with any Beatles-related production, there is always a shroud of secrecy, so rumors continued to swirl until opening night.

“It was a big secret, and you didn’t know what you were going to see,” Carter says. “We did know there was going to be this whole new treasure trove of [music] mixes coming out, but you didn’t know what they were like.”

Of course, the mastermind behind those mixes was the Beatles’ long-time producer George Martin. Often referred to as “The Fifth Beatle,” Martin produced the Beatles from the very beginning, even playing instruments in many of their songs.

On this momentous occasion, it marked the passing of the torch to Martin’s then 36-year-old son Giles. Following in his famed father’s footsteps to “reimagine” Beatles music—at Abbey Road Studios, no less—was an enormous responsibility for the up-and-coming producer.

“When I look back, I think about being in the room and trying to come up with ideas for the show and thinking, ‘Well, this is a fun ride, but I’ll probably get fired at some point,’” Giles jokes.

Together, father and son created the 90-minute show’s soundscape, combining traditional mop tops’ tunes and the visual sensation of Cirque du Soleil with his own “risky” interpretations of the Beatles’ most popular songs. Ultimately, he would have to play his tracks for the living band members.

“My dad hadn’t heard it. He came to Abbey Road, listened to it, and wasn’t sure about some of the riskier things I had done,” Giles reminisces.

“When Paul [McCartney] came in, my dad wouldn’t let me play the riskier stuff [but] Paul said, ‘You know, I think you should go further.’”

Giles then played McCartney the versions he had been working on.

“Paul said, ‘This is what you should be doing. This is what I want to do; let’s make a difference here.’ Ringo [Starr] felt the same way,” Giles says.

In Las Vegas months later—with the music compilations about to be revealed to the world—two generations of Martins walked the Grand Opening red carpet. Giles says that his smile shielded sheer nerves.

“I was very nervous about how it would be received,” Giles admits. “You have to bear in mind that when we did the LOVE show, there were no shows pretty much in the world at that scale that had just playback audio. My biggest fear is that people would go, ‘Wait a second, they just listened to a CD or a recording.’”

Not to mention, it was the biggest reunion of Beatles royalty in attendance since the band’s breakup, including McCartney, Starr, Yoko Ono, Cynthia and Julian Lennon, Olivia Harrison, plus luminary members of their inner circle like Ravi Shankar, Brian Wilson, and Eric Idle.

“It’s the first time really that I’ve seen Paul and Ringo and Yoko and Olivia and Dhani and Sean and the families all together watching the show,” Giles says.

While recording station IDs for his legendary radio show, Carter witnessed it all, even running into Giles and his famous father together on their big night.

“The Martins never seem nervous; they are very cool. They’re like right out of a Bond movie,” Carter says.

But the stage had been officially set for the biggest launch in Giles Martin’s musical career.

“He was creating this new landscape that had never been heard before, and it could have been embarrassing and really bad, but it was super cool and perfect,” Carter adds.

As the VIPs sat in the more than 2,000-seat theater-in-the-round, surrounded by speakers in the seats, on the floors, and everywhere else, the lights went down, and the music took over.

With vocals from “Because” at the start to the voice of John Lennon saying “Goodnight to yous all and God bless yous” at the end of the show, the entire production was a technical triumph.

The crowd stood and applauded as Paul McCartney took to the stage and shouted, “This is for John and George!”

At last, Giles could finally enjoy the fruits of his and his father’s labor.

“[With] the standing ovation, I kind of knew we’d done it, we knew we’d made it, and I knew that we made something really special that would last for a long time,” Giles says.

Not holding back, Ringo Starr said he was delighted with the entire experience after the premiere. “I thought the show was great; I thought the music was incredible, and I think the show is so expressive of that time, really,” Starr said in 2006. “It was emotional because two of us aren’t there, so it really comes home when you’re watching this.”

Also emotional, Yoko Ono said, “The only regret is that John [Lennon] is not here because I’m sure that he would have loved it.”

At the premiere after-party, the audience and cast gathered to celebrate.

“It was like every character in Austin Powers was there; it was truly the greatest ’60s party; the women all looked like Patti Boyd, plus it had the real people that would be at a cool ‘60s party,” Carter remembers.

Since its defining debut, Cirque du Soleil’s LOVE has performed more than 7,600 shows and entertained more than 11 million guests.

The show boasts 83 artists and a 150-person crew and staff totaling 233 people, making the show happen twice a night, five nights a week.

It remains a destination experience for anyone visiting the Las Vegas Strip.

But after the shocking announcement in 2023 that Hard Rock International purchased and will be transforming the Mirage Hotel and Casino into a new Hard Rock Las Vegas property, the question every devoted Cirque and Beatles fan was asking is what’s next for their beloved LOVE?

In a press release then, the new owner said it would extend the 18-year-old show from the previous ownership and made a deal to keep it running “through at least 2024.”

But just before publication, Cirque du Soleil suddenly announced that the show would end on July 7th as part of the iconic hotel-casino’s rebranding renovation plan.

Devastating news for sure, but there’s no doubt June 30, 2006, was an unforgettable night in Beatles history and introduced Giles Martin and his talents to the world.

He would go on to remix several Beatles albums and co-produce (with Paul McCartney) the last Beatles single, “Now And Then,” which dropped last year and reached #1 in Great Britain.

Not bad for the producer who once said that fateful night in 2006, “I’m not really one of them. I just actually move knobs around.”

When asked if he still feels that way, Giles joked, “A dirty knob twiddler?” But quickly put his current position into perspective.

“I suppose I’m part of the family in respect to being trusted with their material, and that’s something I never take for granted,” Giles says.

“I never imagined I’d work on any Beatles music at all. LOVE was a life-changing experience for me,” Giles adds. “I’m still working with the Beatles, and it’s been an unbelievable ride. I’m still not certainly one of them, but I’m really, really happy they still ask me to work on their music.”

LOVE would be his father’s last Beatles album before he passed in 2016, yet Giles says it brought George Martin back into the family and the inner workings of the Beatles.

“You have to remember the backdrop of this: the Beatles didn’t ask him to produce “Free As A Bird,” which was the record they made during 1995’s Anthology, so he was reentering a family that he’d not been part of for a while,” Giles explains. “To be arm-in-arm with them on stage was pretty special.”

Not only is the LOVE show a Cirque success story, but it will always be a part of the Beatles lore.

“You are expanding the legacy of The Beatles to a completely different audience,” Carter emphasizes. “There’s probably 40 percent of the audience who have no Beatles albums at home, and it also brings in the most hardcore fan.”

Giles Martin agrees. “The legacy of the show is also bringing new people and new audience members to the world of the Beatles, and indeed the world of Cirque. That’s what the LOVE show is. It’s been a landmark in my life, but it also created unique experiences for millions of people, and that’s an incredible thing to be part of.”

All we need is LOVE.

Jeremy Louwerse is the co-author of “The Beatles in Los Angeles.” Visit thebeatlesinlosangeles.com

Portrait of Artist CJ Hendry with her inflatable flowers at Public Pool – Photo courtesy of CJ Hendry

Enchanted Escapes

CJ Hendry’s Public Pool at Sandy Valley Ranch

By Laura Henkel

As spring unfolded its fragrant embrace, art enthusiasts embarked on a pilgrimage to Sandy Valley Ranch, Nevada, lured by the allure of a contemporary masterpiece crafted by renowned artist CJ Hendry – Pool Side. For those who may not be acquainted with the ranch’s beauty or Hendry’s newest masterpiece, let me provide some insight.

Situated just 45 minutes from the lights of Las Vegas, Sandy Valley Ranch feels like a cherished relic from another era, a tranquil oasis nestled amidst the vast expanse of the Mojave Desert, where the night sky is adorned with a tapestry of stars. Here, guests can indulge in the timeless allure of horseback riding or partake in the storied tradition of a cattle round-up on their working ranch, reconnecting with nature and the primal call of the wild. This destination is quintessential for those harboring dreams of living out their cowboy fantasies. For two decades, the ranch has served as the stage for countless dreams realized, offering a glimpse into the enduring spirit of the Great American West.

Enter CJ Hendry, the visionary New York artist whose latest creation, “Public Pool,” has transformed a slice of the Nevada desert into an enchanting oasis. As guests enter the exhibition space, they are immediately immersed in a vibrant atmosphere reminiscent of Las Vegas pool parties. The 50-meter-long inflatable pool takes center stage; its inviting waters adorned with whimsical floral floaties and colorful umbrellas. Surrounding the pool are comfortable poolside loungers, creating an inviting space for visitors to relax and soak in the ambiance. Each element of the installation, from the playful decor to the interactive features, contributes to the overall atmosphere of splendor and excitement, making it a truly unforgettable experience for all who attend.

In the wake of Public Pool’s debut, social media erupted enthusiastically, capturing moments of joy as children laughed amid the playful installations. Photographers and models alike seized the opportunity to encapsulate the essence of Hendry’s imaginative creation while visitors indulged in the extraordinary range of merchandise, serving as tangible mementos of their brief escape to Sandy Valley Ranch. Furthermore, attendees delighted in witnessing Hendry’s remarkable talent firsthand, as her hyper-realistic pencil drawings, each inspired by the installation’s transcendent beauty, graced the exhibition. This seamless fusion of art, experience, and merchandise has solidified Hendry’s reputation as a savvy artist, crafting not only captivating installations but also unforgettable journeys for all who encounter her work. Despite the challenges posed by the elements, including high winds, swirling sand, and intermittent snow and rain, the installation maintained its grace, enhancing its allure amidst the rugged yet breathtaking desert landscape. Experiencing the installation’s resilience firsthand amidst such conditions was truly inspiring.

Those fortunate enough to attend Public Pool during its brief three-day opening were treated to an enchanting experience filled with whimsy and wonder. As laughter echoed amidst the installations and the gentle ripple of water added to the ambiance, cherished memories were created against the backdrop of the Nevada desert, reclaiming its serene beauty. With CJ Hendry continuing to captivate audiences with her immersive installations, anticipation builds for the enchanting experiences awaiting future destinations. Wherever her next masterpiece may unfold, one thing remains certain: it will be a captivating blend of artistry and ambiance, inviting us to embark on yet another extraordinary adventure.

cjhendrystudio.com / sandyvalleyranchnv.com

Celebrating Excellence

UNLV College of Fine Arts 20th Anniversary Hall of Fame Gala

By Laura Henkel

Photography courtesy of Cashman Photo

Held at the esteemed Fontainebleau Hotel & Casino, the UNLV College of Fine Arts recently celebrated its 20th Anniversary Hall of Fame Gala. This magnificent occasion honored those who have made outstanding contributions to the field of creativity and was a monument to twenty years of artistic greatness.

Honorary Co-Chairs Don and Dee Snyder enhanced the celebration and prominence surrounding the occasion. Their commitment to the arts and steadfast support of the College of Fine Arts highlighted this historic event’s significance.

The exquisite weather added to the enchantment of the evening as cocktails were served on the Waterbleau Terrace, a secluded outdoor area featuring lush palms encapsulated by the most alluring architecture and a clear blue sky. Guests were greeted warmly as they entered the venue by Dr. Tod Fitzpatrick, College of Fine Arts Advocacy Board Member; Dr. Nancy Uscher, Dean of the College of Fine Arts; and Dr. Kieth Whitfield, President of UNLV.

The Gala offered a distinguished stage to honor and acknowledge individuals whose contributions have left a lasting imprint on the arts community. Noteworthy among this year’s Hall of Fame inductees were David Copperfield, renowned for his groundbreaking innovations in magic and illusion, and Rita Deanin Abbey, a pioneering multidisciplinary artist whose profound impact extends through generations of UNLV students and whose lifetime of work is preserved in a museum bearing her name. Additionally, Shecky Greene, a legendary figure in the entertainment realm, was celebrated for his significant contributions.

Aside from the Hall of Fame inductees, notable honors were given to people who had proven exceptionally talented and dedicated in their fields: Keith Thompson received the Koep Dean’s Medal in honor of his extraordinary contributions. Carnell Johnson received the CFA Limelight Award in recognition of his remarkable talent and creative vision. Cecilia Violetta Lopez received the distinction of Alumni of the Year for her accomplishments and contributions.

With their enthralling performances and motivational remarks, special guest appearances by Clint Holmes, Dr. Isrea Butler, Curt Miller, Kenny Rampton, Sante Fe & The Fat City Horns, and Cecilia Violetta Lopez enhanced the evening’s celebrations.

The 20th Anniversary Hall of Fame Gala honored the dynamic spirit and rich legacy of UNLV’s arts community. It was a monumental occasion. As we honored those who have impacted the path of artistic history, it was a night full of tears, laughter, and priceless memories.

Las Vegas Arts and Culture Summit

By Laura Henkel

The City of Las Vegas deserves congratulations for organizing another outstanding Arts and Culture Summit. Sponsored by Meow Wolf and held at the landmark Fifth Street School in Downtown Las Vegas, this event showcased the city’s vibrant cultural scene. Attendees included art, academics, business, nonprofits, and politics luminaries, reflecting Las Vegas’ diverse cultural tapestry.

Mayor Carolyn Goodman and City of Las Vegas’ Parks, Recreation, and Cultural Affairs Director Maggie Plaster set the tone for the conference, emphasizing the city’s commitment to supporting its creative sector. Beyond formal sessions, attendees engaged in workshops and discussions, fostering collaboration and innovation. The summit served as a catalyst for partnerships to advance the cultural agenda.

The historic Fifth Street School’s rich history and architectural elegance provided a fitting backdrop for celebrating creativity and teamwork. Its significance as a center for artistic expression was recognized, highlighting the city’s dedication to preserving its cultural heritage. As the summit concluded, the echoes of inspiration reverberated across Las Vegas, underscoring the role of arts and culture in community identity and economic prosperity.

Mayor Carolyn Goodman stated, “Las Vegas is more than just lights and entertainment; it is a city of creativity, innovation, and cultural richness.” The summit exemplifies the city’s commitment to nurturing a dynamic, creative ecosystem for residents and visitors alike.

As Las Vegas continues to evolve, events like the Arts and Culture Summit remind us of art’s transformative potential to inspire, unite, and uplift.

Gipsy Night Club Provides a Brilliant Venue
for the Chic Compass Magazine Issue Launch

By Elaine & Scott Harris

Photography by Bradley Hamm (Cashman Photo)

World-renowned fashion designers, musicians, artists, interior design experts, writers, and journalists celebrated a special evening at the newly opened Gipsy Night Club in Las Vegas. You may ask, what could draw all these experts together in one location? The launching of the current issue of the luxurious Chic Compass Magazine celebrating ONE FROM THE HEART in Volume 6, Edition 1.

Gipsy Night Club, designed by Brian G. Thornton (A Chic Compass Magazine contributor and owner of Brian G Thorton Designs LLC), certainly provided the perfect backdrop with its sexy gold filigree lighting, plush burgundy wall coverings, comfortable curvilinear couch seating, and a large welcoming bar for tasty cocktails all highlighted by a brilliant image of the Eiffel Tower and the River Seine in Paris. Brian’s penchant for perfection was greeted with pleasant exclamation as guests enjoyed the lush outdoor garden with plush couches, fireplaces, and TVs.

Those in attendance enjoyed highlights of a fashion show on one of the TVs produced by the renowned and well-traveled Designer David Tupaz (Chic Compass Magazine Creative Director). Chic Compass Magazine has garnered the reputation of having distinguished celebrities from all genres of the arts and other noteworthy people on the cover of each issue. This issue’s cover feature is that of Nevada’s celebrity lawyer, Sam Ryan Heidari, also known as the “Rebel Lawyer,” an alumnus of UNLV’s William S. Boyd School of Law. He is very active in the UNLV Alumni associations as well. Heidari’s law firm, HGL, continues to support the goodwill of the Las Vegas Community and provide more than the usual valuable services to his clients.

Every issue of Chic Compass Magazine is classy. This issue was no different, taking readers through the full spectrum of fashion, the arts, travel, and dining through the lens of the indomitable human spirit. Crafted by expert insiders, seasoned professionals, and talented writers, this issue gives unique insights and compelling imagery to delight and dazzle the senses in every area of the HEART-Felt articles. You never know which incredible venue Chic Compass will release as the next issue, but you can bet it will bring the best of Las Vegas and the world through its tailored pages.

Tanna Frederick

Tanna Frederick

Fall from Grace and Rises Again

ARTICLE & PHOTOGRAPHY BY SHERYL ARONSON

The classic Hollywood story – a beautiful, young actress moves from the Midwest to Los Angeles, desiring to make it big as an artist. She struggles, works as a waitress, gets rejected audition after audition, and then one day, she maneuvers to meet a famous, top-rated indie director who decides she has talent but also desires her romantically.

The result of this union? She stars in several of his indie arthouse films and theater productions (getting well-received reviews of her work). She also procures lead roles in other acclaimed theater productions and develops her creativity as a writer/producer/director. She rides the wave of this magical life of love and professional success for (two decades) until, one day, everything crashes down around her. She loses it all and moves back home to Iowa, gathering the courage to face herself, alcoholism, and heartbreak.

On the weekend of December 8th-10th, 2023, Tanna Frederick performed her one-woman show Hanyak, directed by Jenny Sullivan, produced by Ron Modro, and written by Tanna Frederick at Two Roads Theater in Studio City, California. This fictional, raw narrative mirrors the story above; however, we are warned…

“Hanyak is a fictional narrative – the things that Tanna did and saw, and the people she met and with whom she worked, encompass the events in the narrative. Names, locations, and courses of events are altered to protect the innocent and the guilty.”

I met Tanna Frederick at the height of her career in 2015 when she starred in the theater production Train to Zakopane, written and directed by Henry Jaglom (renowned film director, playwright, and Tanna’s husband). At this point, she had already starred in Jaglom’s indie films Hollywood Dreams (2006), Irene In Time (2009), Just 45 Minutes From Broadway (2012), and The M Word (2014). Watching Tanna Frederick’s performance as the antisemitic nurse was captivating. Soon after, I saw her play Lulu, the lead in Dutchman. Here’s what I wrote about her two performances.

Two plays…two stories…two time periods…two bigoted women characters, yet one actress. Tanna Frederick crushed the two roles of Lula, the terrifying and tempting seductress in Dutchman, and Katia, the innocent, ignorant, bigoted nurse in Train to Zakopane, with performances of mercurial creativity. From one moment to the next, Ms. Frederick’s portrayals of these racist women smacked us in the face with our projections about hate.

In 2016, I was invited onto the set of the virtual reality film Defrost, which was produced and starred Tanna Frederick and directed by Randal Kleiser (director of Grease). The virtual reality movie Defrost landed her trips to the Sundance and Cannes film festivals. She also spoke at the Virtual Reality World Conference at Crans-Montana (Switzerland), and right before she traveled to Europe, Ms. Frederick appeared at Digital Hollywood held in May 2016 on a panel regarding “Women in VR” and the production of Defrost.

There have been several more credits to Tanna’s career (Ovation, a Jaglom film in which she co-stars with James Denton), co-starred in the theatrical production of Danny and the Deep Blue Sea, directed by Carl Weathers (LA Times Theater Pick), in 2020 Frederick produced and released Two Ways Home and most recently Frederick directed Eric Roberts and Mimi Kennedy in Sy Rosen’s Death Pays Flora A Visit. She can be seen as the lead in South of Hope Street in early 2024 alongside Judd Nelson and Billy Baldwin.

Throughout the five years of our acquaintance, Tanna Frederick stood firmly rooted in myriad creative projects, commanding the multi-faceted kingdom of the arts as an actress, producer, and moviemaker visionary. But in 2020, Tanna disappeared from Los Angeles. I had no idea what had happened until I saw her one-woman show, Hanyak.

Here’s my interview with the multi-talented Tanna Frederick about her fall and rise from grace.

Chic Compass: Tanna, tell me why, after being an actress for twenty years, starring in several theater productions and feature films, you wrote a one-woman show.

Tanna Frederick: As an artist, I always hope to do something that scares me, and I find nothing more terrifying than doing a one-woman show! It’s taken me decades to gain enough courage to return to this medium after having a disastrous experience in college with two professors who tore down my confidence to do this.

Chic Compass: You developed your show Hanyak during the pandemic while returning home to Iowa from Los Angeles. At this time, you had gotten an annulment from your partner, Henry Jaglom.

Tanna Frederick: I received an annulment from the state of California from Henry in 2019. I had found out he had disowned children with me with his ex and that was a really tough discovery after we had been going through IVF. We had been married since 2013 but had had a long-standing relationship personally and professionally. I acted in several of his films and theater productions. When the pandemic hit, I was alone and heartbroken. I returned to my home in Iowa and isolated myself with my dogs for a couple of months. From here, I felt compelled to write and then the writing became therapeutic. The feelings of loneliness and sadness overwhelmed my emotional body which caused me to relive the many painful experiences I had been through in my relationship and career in Hollywood. Yet, I was also shedding the pain – releasing the depression and anger that had been stirring inside of me. The experience was terrifying – leading me to restructure the painful experiences that my brain had tossed into dark corners. As I reflected on my life, I wanted to develop this character who was following the hero’s journey –expose the skeleton of her life so she could gain insight and self-love.

Chic Compass: Talk more about the process of writing Hanyak.

Tanna Frederick: I felt like I was doing my therapy, and by telling my story, I had to be vulnerable, honest, and self-deprecating.

Chic Compass: Tanna, discuss your career on stage and in films. I first saw you perform in Train to Zakopane, written and directed by Henry Jaglom.

Tanna Frederick: Train to Zakopane was a true story written about Henry Jaglom’s father, who was Jewish and fell in love with an anti-Semitic nurse. It was a beautiful story, and I played the nurse along with Mike Falco, who played Henry’s father. I also did the theater production 45 minutes from Broadway, which ran for a year, and we ended up filming it with Judd Nelson as my love interest.

Then I did Dutchman, written by Amari Baraka, an incredible piece directed by Levy Lee Simon. I wanted to play the lead role of Lula, the temptress, forever. The play was accepted into the National Black Theater Festival held in Winston-Salem, North Carolina. It was one of the most incredible experiences in my life!

Chic Compass: Carl Weathers directed you and Robert Standley in the play Danny and the Deep Blue Sea.

Tanna Frederick: Carl was a fantastic director. When I asked Carl to direct the play, I expected him to say no because it is done all the time and because of time constraints. But he said yes. I was shocked and delighted. I felt we were like caged beasts because Carl tested our physical prowess to play the roles. For him, it was natural because he brings incredible athleticism to each of his characters.

Chic Compass: Tanna, you also produced Defrost with Randal Kleiser (Director of Grease), starring Bruce Davidson, Carl Weathers, Harry Hamlin, Veronica Cartwright, and Christopher Atkins.

Tanna Frederick: I produced and acted in the virtual reality movie Defrost, which Randal Kleiser directed. The virtual reality film landed us trips to the Sundance and Cannes film festivals.

Chic Compass: Randal Kleiser and Bruce Davidson came to see your one-woman show recently. How did you feel about them being in the audience?

Tanna Frederick: It felt like I had taken a giant step forward in my career again, and they were very supportive and encouraging. I didn’t have a great perception of myself and didn’t know if this one-woman show was any good. But people are seeing the play and are very supportive.

Chic Compass: I want to talk about the word grace. The definition is – merited divine assistance given to humans for their regeneration or sanctification. I think your story revealed in Hanyak – a struggling actress who finds huge success married to a very famous director – you had the Hollywood dream life. You fall from grace, struggle, and overcome alcoholism, lose everything, and are now returning to Hollywood by yourself. Talk about this journey.

Tann Frederick: It’s very personal. I’m so grateful for everything that has happened. I realized what’s important in life and understood how many amazing simple things happen each day to appreciate. I had to go through a lot of painful experiences that changed me. Those experiences changed my communication mode in directing, writing, and acting.

Chic Compass: Did you ever feel a divine presence around you that might have saved your life?

Tanna Frederick: I can’t believe that I am still alive and everyday is a gift. What’s important to me spiritually is helping other people through sharing my story.

At first, I was scared to be alone, and then I started to feel the sturdiness of being alone. I’m getting back in touch with old friends and have these beautiful relationships back that are flowering.

Chic Compass: What does Hanyak mean?

Tanna Frederick: A Hanyak is a term my Czech grandfather used on the farm when I was growing up for disobedient family members. – as expressing any sort of emotionality back on the farm was more a sign of weakness than strength.

But I looked the name up and it means being a peasant or any sort of person who goes after opportunities and gets bitten by the same consequences over and over.

I feel that’s what actors do again and again – we get screwed by auditions, and this whole town is kind of like a giant Hanyak! Nonetheless, as actors we are gallant. We forge forward anyway, and we can celebrate ourselves for all of our struggles because we’re creating brave work via our experiences and sharing them with others which fosters healing and community.

Steph Payne (Photo by Enlightened Entertainment)

Steph Payne

From the Military to the Ministry to the Main Stage

BY STACEY GUALANDI / PHOTOGRAPHY COURTESY OF STEPH PAYNE

After a recent performance in front of a packed audience, singer/songwriter Steph Payne was beaming. She still couldn’t believe what happened when she finished her set. “A man in the audience gave me a $5,000 cash tip!”

Mind you, Payne’s sultry singing, glamorous good looks, and compelling charisma (or rizz as we say now) are worth that and more, but for her, this was a sign the main stage is where she’s meant to be.

“Right now, I’m following my dream,” said the award-winning artist. “I’m finally pursuing what I’ve always wanted to do.”

In just four short years, the Pasadena transplant has made a name for herself in Sin City as audiences keep boarding the “Steph Payne Express.” But if you’re new to her act, this passionate performer is equal parts sass, soul, and smooth jazz, with a side of gospel.

“I do a lot of things off the cuff, and I sing many different genres of music,” said Payne. “I think my motive is to make people walk away entertained, fulfilled, and feeling better than when they came in. If I can accomplish that, then I’ve done my job.”

On any given night, Payne is fully engaged on each end of the Strip, whether at the much-in-demand Delilah Supper Club inside Wynn Las Vegas, the iconic Bootlegger Bistro, or her new steady gig at Venetian’s Villa Azur. When she’s not in front of an audience, Payne is live on the air as the host of “Saturday Classics” on 91.5 KUNV FM Radio.

“I’m just in a place where I’m having fun doing what I love,” said Payne, 42. “A lot of people in this business have been doing it since they were kids. I did everything else first.”

Payne grew up in the church in Los Angeles. She came from a mixed-race, hardworking family: her grandmother was Scandinavian, her mom was “mostly white,” and her dad is Black.

“Growing up, the Black side of my family was Baptist, and the white side was Charismatic (Church). I grew up listening to different people speak, so I’m not one or the other,” said Payne. “I’m somewhere in between.”

Her mom was a police officer, and her dad—who played drums—went from managing rundown apartment buildings to being the union chairman for LA rail car and bus drivers. “I’ve always loved and looked up to my parents and wanted to be like them.”

Payne said while she never got to meet her grandfather, actor Jimmy Payne—who appeared in the film “The Arrangement” with Kirk Douglas and in a recurring villain role on the 60s series “Get Smart”—she credits him for her talent.

“I feel it in my blood, and a lot of it comes naturally,” said Payne. “I don’t rehearse much of what I do; it just comes to me.”

(Payne says she is so proud of what he accomplished as a Black entertainer and boasts that his picture is hanging above hers inside Battista’s Hole in the Wall near the Flamingo!)

Music was all around her growing up. Payne sang in glee club, and the church choir, and her parents always made instruments available to her, but they “never forced me to play.”

Payne said they were strict, however, so at 12, to escape the “family regime,” she went to work parking cars at the Rose Bowl. “I just wanted to be independent,” said Payne. “When you’re that age, you think you’ve got it down.”

By the time Payne entered junior college, she was a skilled athlete, excelling on the basketball court, not in class. A cousin she looked up to suggested she needed discipline, so why not check out the U.S. Air Force?

“So, that’s what I did,” said Payne. “I walked into the recruiting office one day…they were out to lunch at three o’clock in the afternoon, so the Army recruiter came out and said, ‘Well, why don’t you listen to what we have to offer while you wait?’ I signed up, walked out, and never talked to the Air Force.”

It was 2000, and a 19-year-old Payne began her six-year service in the military.

“Bootcamp was scary,” said Payne. “That initial part of going in, they treat you like cattle, [but] it teaches you mental discipline. There are some very traumatic emotional things that you go through during that training, and you have to supersede your emotions and just stay in control and use your brain.”

Payne luckily didn’t see combat in Iraq, but she did serve during the attack on the Twin Towers and throughout the war under two presidents.

“I was military intelligence, so most of my work was operational versus tactical,” said Payne. “I got really good at my job, so I just started leveling up within the intelligence circle.”

She earned top-secret clearance as an analyst working in national security and surveillance. When asked what secrets she could share, Payne said she could tell me, but then she’d…well, you know.

She credits her tour of duty in the Army with giving her thick skin, a trait that now serves her well as a performer.

“You really have to think past what your emotions tell you,” said Payne. “It helps me not to care about certain things that other performers care about in entertainment and not to take things personally.”

Perhaps it makes perfect sense that Payne would transition from her post to the pulpit after having spent her formative years in church.

“I’ve always been some kind of servant, whether being a soldier in the Army or doing ministry.”

Payne was a successful speaker in California congregations for nearly a decade.

“I think that the military honed those characteristics in me: the leadership part, the public speaking part, the being able to keep an audience entertained part,” said Payne. “That’s a big part of preaching and speaking in the church, too, ’cause people will fall asleep on you.”

She learned a lot studying religions, especially the power of positive thinking, but ultimately, the stress and sacrifice in ministry forced Payne to move on.

“There was a point in time when I grew out of that stage in my life, and I wanted to pursue other things.”

At the same time, Payne was busy raising fraternal twin girls, now 15, and starting to create and record original gospel music in Los Angeles. Some of her early gospel “she-roes” include the Clark Sisters.

“Gospel singers are the best singers in the world. They’re not all classically trained; it’s just a gift.”

But life would take another unexpected turn when her then-husband moved Payne and the girls to Las Vegas to be near family in 2019. Her grandmother was diagnosed with dementia, and they were looking for a better lifestyle.

“I didn’t come here to sing,” admitted Payne of the move to Vegas.

But it was only a matter of time before her long-held-yet-not-fully-realized dream to be in showbiz became a reality.

“It just called to me, so I started singing at open mics,” said Payne. “Then I joined a couple of bands, worked the lounge circuit off the Strip, and eventually started my own band…I actually opened my first show in a major casino!”

While a whole new scene opened up in Las Vegas for Payne, it was like the military all over again. “Vegas has its own boot camp,” joked Payne. “The entertainment community here is very close-knit and very protective. You have to break through and prove yourself, but I appreciate that you have to work hard in this town to make a name for yourself.”

It was her intelligence background, said Payne, that helped her analyze the market to see what worked and what didn’t for artists who’ve been performing in Las Vegas for decades.

“I’m okay with taking the long road…rather than using shortcuts; that’s what gets people in trouble in entertainment,” said Payne. “I think I could have gotten to this point if I had done this all my life, but I think I am better off having the career path I had. I’m not surprised that I’m here, but I’m extremely grateful.”

But having a music career can take its toll on a marriage. The constant push-pull of performing eventually came between Payne and her husband, and their marriage ended.

“I think with the divorce, that was a sacrifice of my family unit,” said Payne. “It’s the music business that ruined it, so when I hear people say, ‘Oh, you did this so fast!’ it wasn’t without sacrifice.”

Payne gets teary when the subject turns to her two daughters, who live part-time with her in Las Vegas. She says her number one goal has always been to be a role model for them now and long after she’s gone.

“I want to be someone my girls can be proud of,” said Payne. “I just always want to leave my mark and be a positive example for my kids that they can do better.”

Payne is no doubt leaving her mark. She recently won an Emmy Award for “Legends Unite for St. Jude,” a musical television production with Skip Martin (of the Dazz Band) and David Cook.

In 2023, she crushed her number one goal to not only perform her Soul Fusion show on Myron’s stage at The Smith Center in downtown Las Vegas but also to sing her original song “Hide Out” for the first time.

“If I start to feel pigeonholed, I’ll do something completely off the map,” said Payne. “When I did Soul Fusion, I felt like I had reached the pinnacle in Las Vegas… now it’s time to go higher.”

Payne is also back in her home studio recording more original music, a smooth jazz project with legendary musical director (and Barry Manilow keyboardist) Joey Melotti.

And for those who missed it, she’ll return to Myron’s on February 20th for a new iteration of her Soul Fusion show.

“If there is one word to describe me, it’s ‘chameleon,’” said Payne. “I always do something people don’t expect me to do, and I feel like I can change when I want.”

With her present and future looking so bright, I had to ask who would play her in an eventual biopic. Payne has narrowed it down to two: Vampire Diaries actress-singer-songwriter Kat Graham, or Loki and Morning Show actress Gugu Mbatha-Raw. We shall wait and see!

For now, Payne hopes her path from the military to the ministry to the main stage proves that it’s never too late to pursue a dream.

“There’s a lot of different facets that you have to deal with as a woman and as a woman of color,” added Payne. “Just know who you are and stand strong in that. Be professional, always. Don’t take anything personally. Don’t get discouraged. Brush it off, let it go, and know you can do whatever you want.”

Look who’s giving a big tip now!

The Liberation Pavilion

The National WWII Museum Opens Its Final Permanent Installation

BY ELAINE & SCOTT HARRIS / PHOTOGRAPHY BY SCOTT HARRIS

New Orleans is a special place known for centuries from all corners of the globe for its culture, culinary excellence, and unique history. However, its number one attraction for locals and visitors is The National WWII Museum, an extraordinary place. It celebrates the final building installment of the Liberation Pavilion. Considered hallowed ground by Veterans and their families, thousands of visitors come to learn, pay respect, and remember those considered the “greatest generation.”

The Museum tells the story of the American experience in the war that changed the world—why it was fought, how it was won, and what it means today—so that all generations will understand the price of freedom and be inspired by what they learn. Dedicated in 2000 as The National D-Day Museum and now designated by Congress as America’s National WWII Museum, it celebrates the American spirit, teamwork, optimism, courage, and sacrifices of the men and women who fought on the battlefront and served on the Home Front.

Recently, more than 40 WWII veterans, Holocaust survivors, and Home Front workers participated in the Grand Opening of The National WWII Museum’s final permanent exhibit hall, Liberation Pavilion, which explores the ongoing relevance of the war and encourages visitors to contemplate the joys, costs, and meaning of liberation and freedom. Over 40 Medal of Honor Recipients and other special guests like Actor Tom Hanks and other dignitaries were on hand for the historic milestone marking the conclusion of the institution’s two-decade journey to expand its campus.

“Nearly 80 years after the end of World War II, we remain ever grateful to those Americans who sacrificed so much to secure freedom and democracy and whose legacies are now our responsibility to carry on here at The National WWII Museum,” said Stephen J. Watson, Museum President, and CEO. “It is an honor to welcome these men and women of the WWII generation to our campus as we celebrate the Museum’s commitment to honoring and sharing their stories. Through the Liberation Pavilion, we will help visitors better understand the human cost of victory and the enduring impacts of World War II today.”

On this spectacular November 2023 New Orleans morning, themes of freedom, democracy, and human rights prevailed throughout as Rabbi Bonnie Koppell, the first female rabbi to serve in the US military, gave the invocation, followed by a tribute to the WWII generation by Louisiana Governor John Bel Edwards. Next up was Gold Star Daughter and Museum Trustee Sharon Estill Taylor, Ph.D., who spoke on the loss of her father, US Army Air Forces First Lieutenant Shannon Eugene Estill, during the war—highlighting the steep prices service members and their families paid to ensure victory. The highlight of the day was when actor, producer, director, and writer Tom Hanks took the stage and, with much emotion, reflected on the historic magnitude of the Grand Opening.

The ceremony was a full-circle moment for those who attended the opening of The National D-Day Museum in 2000, including President and CEO Emeritus Gordon H. “Nick” Mueller, Ph.D. He helped found the Museum with his friend, fellow historian, and best-selling author Stephen E. Ambrose, Ph.D. and led the institution until 2017.

“Twenty-three years ago, when we first opened The National D-Day Museum, Steve and I thought we had achieved our goal to preserve and honor the memory of those Americans who fought on the beaches of Normandy in 1944. The accomplishments of the past two decades extend far beyond what we could have imagined, even after we decided to broaden our mission to tell the whole story of the American experience in World War II,” Mueller said. “Hundreds of thousands of Americans made the ultimate sacrifice during World War II, and millions more survived to serve as a beacon for democracy.

Following years of planning, 2019 commenced the groundbreaking construction of the Liberation Pavilion. Its structure was made possible through the generous support of private donors and the State of Louisiana.

Now, with the opening of Liberation Pavilion, we honor the legacies of the WWII generation and help visitors understand the relevance of the war today — the meaning of the freedom they secured and each generation’s duty to protect and advance it.”

As the Museum’s final permanent exhibit hall, Liberation Pavilion highlights the costs of Allied victory, how the war shaped America and continues to impact our lives today, and the ongoing postwar responsibilities to preserve freedom and defend democracy and human rights. Two stories of exhibit space designed by Gallagher & Associates featuring first-person accounts, iconic imagery, powerful artifacts, immersive environments, and a third-floor cinematic experience explore the end of World War II, the Holocaust, the immediate postwar years, and the war’s continuing impact.

These spaces allow the Museum to tell a complete story of the American experience in the war that changed the world and fulfilled the final pillar of the institution’s mission: What does World War II mean today?

Guests started their experience on the Liberation Pavilion’s first floor, Trott Family Philanthropies, in honor of David W. Trott’s Finding Hope in a World Destroyed. It recognizes the sacrifices of the WWII generation and explores the immense cost of war with exhibits on the Holocaust and then Anne Frank, Faith in Wartime, and the Monuments of Men and Women who served with their lives on the line. Stories of loss and liberation reveal the true horror of the conflict as victors and vanquished alike began rebuilding a shattered world.

On the second floor of the Liberation Pavilion, The Goldring Family Foundation and Woldenberg Foundation Forces of Freedom at Home and Abroad (1945–Present) explore the war’s impact in the postwar period and its lasting legacies today. Exhibits examine the rebuilding efforts of a world destroyed, the war crimes trials, the emergence of the United States as a world “superpower,” movements for social change and civil rights, new technological innovations, and the war’s impact on foreign policy.

Emotions were high with Veterans who, along with family, took their seats ( many in wheelchairs) at The Priddy Family Foundation Freedom Theater on the third floor of Liberation Pavilion. Offering audiences a multimedia experience focused on what was at stake during World War II and the real meaning of the Allied victory, the production, developed by THG Creative, highlights how freedom almost vanished from the world in the 1930s and 1940s, efforts to protect and promote freedom during and after World War II, and how each generation has a responsibility to defend democracy, protect freedom, and advance human rights. The theater audience’s platform rotates at a pivotal moment in the show, providing an authentic, immersive experience.

In addition, the Museum officially dedicated the 24,000-square-foot Col. Battle Barksdale Parade Ground at the heart of campus, adjacent to the Liberation Pavilion. Its dedication comes almost two decades after the first significant donation to the Museum’s Road to Victory Capital Campaign by Donna and Jim Barksdale. A Museum Trustee earmarked the funds for a future parade ground in honor of his uncle, Colonel Battle Malone Barksdale (1916–2009), a US Army officer in World War II. Barksdale, who witnessed the Japanese attack on Pearl Harbor in 1941 and, in 1944, was sent to the European theater with the 635th Field Artillery Battalion. He later commanded a field artillery battalion in the Korean War. Barksdale retired in 1957 with the rank of Colonel.

“Today is a pivotal day in our institution’s history — the end of an era and the start of a new journey,” said Watson. “As we celebrate, we know that there is much more ahead: We will continue to tell the story of World War II in innovative ways, finding new ways to inspire audiences of all ages across the globe and to embrace our role as storytellers for generations to come.”

The Grand Opening of the Liberation Pavilion and Dedication of the Col. Battle Barksdale Parade Ground marked the successful conclusion of the $400 million Road to Victory Capital Campaign that has driven the growth of The National WWII Museum’s campus and educational programs over the past two decades.
An extraordinary part of the weeklong celebration: The National WWII Museum hosted the Medal of Honor Recipients and their families in New Orleans for the 2023 Congressional Medal of Honor Society Convention, presented by the Stephen G. and Regina Oswald Foundation. During the week, recipients visited select New Orleans-area schools and student gatherings to share stories of courage, commitment, integrity, sacrifice, citizenship, and patriotism.

As part of the Congressional Medal of Honor Society’s Character Development Program, these events allowed students to learn how to recognize and exemplify these values while connecting with and asking questions of a Medal of Honor Recipient. Recipients will present each school with a donation on behalf of the Congressional Medal of Honor Society to support their educational mission. The Medal of Honor is the United States’ highest military award for valor, presented to those who have demonstrated gallantry and intrepidity, at the risk of their lives, above and beyond the call of duty.

Having visited the National WWII Museum many times and as a veteran, you should take your time, stop, and take in what you see. Read the personal letters from loved ones shared across many miles under dramatic circumstances, listen to what you are hearing from Holocaust survivors and those who rescued them, and, most importantly, remember what this greatest generation did to preserve liberty during and after WWII.

The perfect way to end a monumental day is a cloudless blue sky in New Orleans while watching the Congressional of Honor Recipients escort WWII Veterans while taking in every word of Tom Hanks’s ending remarks, “The true work of building a perfect union in an imperfect world began the day after the war ended and continues now, and it requires vigilance, it requires attendance, it requires the desire to seek out knowledge, it requires the accumulation of wisdom that will be found by anyone who attends this Museum on any given day or for the rest of time. Hope and Faith lead us to the greatest possibilities in the world that we still cannot even imagine. Hope and Faith and where-with-all and the ongoing attempt to accomplish magnificent things can build a massive campus out of a handful of buildings and some artifacts. It can fuel the efforts of people who, for 30 years, have seen it until its conclusion. It can build a building dedicated to peace and liberty.”

Gipsy’s Park and patio features a bar, fireplace, and outdoor dining. The large overhead door collapses upward to the ceiling bridging the indoor outdoor club experience. Landscaping Design: Marjorie Snow & Associates. Photo courtesy of Todd McBrayer/Breslin Builders

Reviving Royalty

Gipsy Blossoms into A Nightlife Bouquet

BY BRIAN G. THORNTON

Las Vegas has seen a lot of activity in recent months with project openings. New resorts on and off the Strip and the 2023 Formula 1 Las Vegas Grand Prix global racing format joined our city streets. In February, we will host the Super Bowl LVIII. Even the Roman numerals reflect its debut in Las Vegas. Notwithstanding, the slow but steady economic rise with rotating cranes across the skyline suggests that we are experiencing a quiet rebirth.

Gipsy, the oldest gay nightclub in Las Vegas, is stepping back to her place on the throne. Superlatives like the oldest, most popular history, the 2023 November relaunch solidified the phoenix-like rising in the footprint of the original club. The new Gipsy holds court on the corner of Paradise Road at Naples Drive, sharing an intersection with its royal relative, Piranha nightclub.

CLAIMING THE CROWN

Jerry Masini, the owner of Gipsy and Piranha Nightclubs, shares his enthusiasm: “The relaunch of Gipsy is a tribute to the LGBTQ+ community and Las Vegas nightlife. We are bringing back a sanctuary for performers and guests to express themselves freely in a space that respects our history and ushers in new entertainment experiences.”

Historically, many luminaries such as Liberace and Frank Marino graced Gipsy, embracing its open and accepting atmosphere. The club’s legacy is intertwined with the city’s Showkids community, and today’s Gipsy promises to carry on that tradition of inclusivity and unparalleled entertainment.

The reimagined Gipsy comes after a substantial investment of $4 million in its reconstruction, with JAWA Studio Architecture, interior/industrial designer Brian G. Thornton, decorative lighting by renowned designer Nick Alain, and construction by Breslin Builders, ensuring that the club ambiance remains visually compelling. This collaboration began in September 2023 with the introduction of Masini, Thornton, and his team, exploring the fusion of steampunk-inspired design, historical tributes, and atmospheric chic entertainment that defines the new Gipsy.

Paris became a mutual destination in ideation theory. Thornton had worked on many Art Deco and theater projects over his career, so setting a time and place was vital in transforming Gipsy while keeping it there.

Jerry Masini’s vision for the unique steampunk/romantic industrial style set the stage for a distinctive aesthetic. The collaboration seamlessly merged elegance, machined, and light industrial references with a mix of hard and soft textures. Much of the stone, tile, and decorative lighting had been purchased, and those seeds needed light and air to make sense in the final design. From large-format porcelain tiles to adorning modified seating with European luxury fabrics, every detail carefully considers style and functionality. Gipsy is personal and intimate.

Understanding the vibrant nightlife scene in Las Vegas, Thornton incorporated high-performance luxury vinyl on seating surfaces backed with puncture-proof materials. This practical yet luxurious choice ensures durability while maintaining the club’s aesthetic integrity, allowing club revelers to dance freely to the beats of resident DJs.

The new programming at Gipsy transcends traditional boundaries, offering a diverse range of entertainment from burlesque and cabaret to innovative performances reminiscent of Cirque du Soleil. This commitment to variety ensures that Gipsy caters to a broad audience spectrum, providing an unforgettable experience for all.

Gipsy Nightclub commits to unparalleled entertainment experiences that transcend the ordinary. As the sun sets and the lights come to life, the dance floor becomes a pulsating energy hub featuring top DJs who curate electrifying beats. Extending the experience are star-studded drag performances that captivate and celebrate the diverse talents within the LGBTQ+ community. Each evening at Gipsy is a vibrant celebration of music, dance, and inclusivity.

MORE THAN A MAKEOVER

Most endeavors begin with a vision, a concept, and a design, and then it’s executed. Over six years, leadership evolved and ultimately reconvened to deliver the end product. When then-owner Paul San Filipo decided he wanted a new facility to rise where the original building began, he engaged architect Robert Messiana of JAWA Studio. Gipsy has had several rebirths, starts, and stops in recent years. The new club plans began in 2016 when San Filipo vowed to resurrect the brand and stature after a 2013 Bar Rescue reality TV show appearance.

Messiana says, “We were originally contacted in 2016 to look at completing the renovation of the original Gipsy building that was stopped part-way through construction. After an in-depth analysis, it was decided that demolishing the partially renovated building and constructing a new building would be a better solution. We began designing the new building in December of 2016.” Along the way, a two-story version was even halted due to costs.

“This final redesign was started in July of 2020. Due to pandemic-related delays, the building was submitted for permits in November 2021. The permit was issued in March of 2022. Through all of these redesigns, the original concept of the building envisioned by Paul San Filipo remained remarkably unchanged.” Messiana summed it up with, “The building design successfully pays homage to the original Gipsy while still creating an exciting new venue.”

GROWING GIPSY

Ryan Wilkerson, project manager for Breslin Builders, concurs that project interruptions were the most demanding challenges. “The starts and stops and scope changes were the most difficult hurdles to overcome. With Gipsy being a passion project, given the history and nature of what it was and now is, this was more of a design-construct project. That simply means we had to work hand in hand with the owner, designer, and architect to keep on top of all design elements as they were developed.”

Wilkerson continued, “Sometimes this meant pausing some parts of the project to allow details to develop and avoid redoing any work. While those delays definitely extended the overall project timeline, it also saved costs in going backward on something that changed or wasn’t fully developed at the time of construction. At the beginning of the building shell construction, there was no interior design, just a couple of mood boards and inspiration concepts. That is like starting a road trip without a destination in mind. However, once Brian [Brian G Thornton Designs] was brought on board, they quickly got to work and were able to corral all the design ideas into a cohesive design that worked for the small space. He was also the key to finishing the project—he was able to pinpoint that destination on our road trip.”

Ryan confirmed that he’d worked on many building types, but Gipsy had unique challenges. “The size of the building posed the most unique challenge. I say that because there is a lot packed into this little 3,400 SF building. This was my first nightclub. In my experience in patronizing nightclubs, they are huge and spread out with a ton of details. Gipsy was no exception to the high level of detail; however, it is all compressed and condensed down into a little gem.”

The owner’s addition of a sushi bar was initially unpopular amongst the team, but we worked to make it functional and attractive. “Once everything was complete and I attended the Grand Opening, my mind was changed. The concept seemed to fit and add an increased level of class. I even sat at the bar and had a couple of rolls that night. That was a pleasant surprise, and I hope it’s a feature they keep in place long term.”

THE GRAND DAME

Think of Gipsy as a rare orchid, a secret botanical garden left to regenerate. As you step inside, the copper vine screens suggest vitality as a recurring element throughout the venue. Immediately, you’ve entered a forgotten 20th-century Parisian botanical hothouse, now the epicenter of all things good, gay, and Gipsy.
The decor of Gipsy is a mesmerizing blend of a traditional nightclub and a wonderland secret garden. By day, it shimmers in aubergine, purple, and copper hues. In contrast, by night, the purple sky ceiling illuminates the custom purple leaf wallcovering, suggesting a garden hedge, creating a captivating atmosphere that envelops you. The signature aubergine velvet banquette is a plush seating oasis adorned with jewel-toned pillows, chartreuse welting, and crystal buttons. The glamorous design recalls blooms on a topiary hedge and invites you to indulge in luxe comfort and people-watching. This is the best seat in the house to all while enjoying a view of the elegant bar and oversized theatrical video window with its everchanging content beyond.

Gipsy’s main salon is a theatrical space where the seasoned crowd comes together. There’s no dedicated dance floor, but the central area with stylized backlit column vases filled with champagne-colored palm fronds is used. Beyond the bar with digital gaming machines, an arched video wall offers glimpses of Gipsy’s Paris through a massive urban window. At the east end of the salon, creating more theater is the 12-foot industrial glass garden door that silently collapses to the ceiling, extending the party into the park. The park bar, standup tables around the trees, and the intimate fireplace seating create the park atmosphere day and night. This patio park doubles the usable space for the club and gives a unique entertainment experience like few other clubs in town. An allée of Southern Live Oak, Podocarpus, and Wilson Olive trees add to the seductively lit garden at night. Gipsy’s park is where exclusive events come to life for guests. From happy hours to themed soirées and drag brunches featuring Las Vegas’ most talented queens.

OUTSIDE THE BOX

A freestanding club off the famous Las Vegas Strip wouldn’t suffice without completing the experience with an indoor-outdoor oasis. Imagined by Jerry Masini and conceived by friend and frequent collaborator landscape designer Marjorie Snow. Snow, who specializes in exquisite exterior environments, brought her skills to the site with texture and vision to fill in what could have been a barren exterior space with plantings as an afterthought.

The three main areas of the plan included periphery planting, The Naples Drive entry statement with 2 Phoenix Dactylifera palms, Mediterranean fan palm trees, and various succulents. The Paradise corner became a focal point of the property with the most dramatic soft and hardscape. Combining large rocks, smooth black stones, and chunky ground rocks interspersed with decomposed granite serves two purposes. It deters pedestrians from walking on the groundscape and adds visual texture day and night. As the Palos Verde trees fill in, a lush green screen will ensure privacy to the Park within.

CORONATION

On November 16, 2023, the club was dedicated to Paul San Filipo, who passed in 2022. The commemorative plaque reads in part: “Paul envisioned a grand future on this historic land and worked relentlessly to bring this dream to life.” The grand rebirth promises a visually compelling ambiance, ensuring Gipsy remains a cornerstone of Las Vegas’ vibrant nightlife.

Project Acknowledgements:

Owner: Jerry Masini

Builder: Breslin Builders

Architect of Record: JAWA Studio

Interior / Industrial Design / Ornamental Metal Elements / Architectural Lighting: Brian G Thornton Designs. LLC / US Lighting

Custom Wallcovering: AiNO

Furniture Fabrication: Phoenix Furniture Ltd.

Custom Accessories/Window Treatments: Scala Design

Decorative Lighting: Vanderpump Alain / Nick Alain

Stone/Tile: Walker Zanger

Ornamental Metal Fabrication: Slater Design Studio

Photo Realistic Renderings: Yantram Studios