Jubilee!

"Jubilee is a time to celebrate, a moment to pause, reflect on blessings, and embrace the joy of the present."

I want to dedicate this article to Tracy, a lead singer, dancer, Bluebell girl from London, and my friend. She befriended me while performing at Bally’s Grand in the Jubilee Show. I became good friends with her and her husband Phil, who I remain friends with today. I lost contact with her over the years, but she made my days bright during my time performing in the Bally’s Show. She had the most fantastic smile and adorable giggle and knew how to turn your lemons into sweet, delicious lemonade. So this is what she did for me. We had performed LIVE on The Search for Houdini, broadcast on CBS LIVE from Los Angeles on Halloween 1987. The show's host is William Shatner, and we were one of the axes along with Penn, Teller, and David Copperfield. During our part of the performance, we performed Harry Houdini’s metamorphosis illusion using his old trunk. We followed it with our own lighting speed, Metamorphosis, using our trunk. At the end of our trip, I stepped out of the box and wore a completely different costume. It had a mystery, a finale, and an incredible illusion. So, wouldn’t you know when Jonathan opened the box to meet him and step out in my costume? I could only come out of the box halfway because the lower part of my costume was turned around, so my costume malfunction would have been X-rated. I knew this, but Jonathan did not, so he kept trying to pull me out of the box as I pulled myself back in and then closed the top over me. Ken Ehrlich, the Director, was very good at his job and kept the camera showing the box being taken off stage by stagehands with me inside.

I was mortified when I stepped out of the box backstage. But most around me were empathetic and understanding, offering me kind words. Some weren’t as understanding, so I went to the following party separately from Jonathan. It was a very upsetting experience and weighed heavily on my mind. Rick Marcelli was our manager, and just like a manager should do, he gave me big hugs and love, kept me from crying, and said we have to make lemonade out of lemons. And Rick did win. He secured a contract for us with the Dick Clark Talent Agency. William Shatner had seen our rehearsals and knew are ending well with the costume. So when my costume change failed, he announced on live TV to millions of viewers that I had lost the bottom part of my costume. Some people thought this was shaming me, but he wasn’t. He was making light of a beautiful, candid, on-stage moment. The result was we became more famous than the show.

I couldn’t laugh until I talked to Tracy on the phone a few days later, who was excited to hear from me and talk about my performance. She, of course, saw it alive and knew what had happened to me. Instead of offering me words of empathy right away, she just began laughing and laughing. And then she got me laughing. Sometimes, you must learn to laugh at yourself and your silly mistakes. It’s honestly the best medicine, as cliché as that sounds. Since I encourage people to laugh before going on stage, it’s the best way to calm your nerves. Your brain waves change, and you feel renewed. And this was the gift that Tracy gave to me.

I wanted to put that out there because she passed away last week while I was writing this article. She and her husband, Phil Goldstein, were a big part of my Jubilee experience, which I discuss in my article.

May Tracy Rest In Peace.

Photo often used for postcards. By Ken Marcus

As a live variety arts performer, my dream was to perform on the Las Vegas Strip. The Strip embodied the crème de la crème of entertainment; where when I was a 5-year-old girl, I was fascinated by a showgirl featured in a vintage 1950s brochure on my parent's coffee table. So, the possibility of performing in Vegas someday was one of my biggest aspirations, and my dream became valid through a man named Rocky Sennes.

My career on the stages of the Las Vegas Strip began in the early 80s at the old Holiday Casino, which is now Harrah’s, Las Vegas. It wasn’t a top-tier casino, but it had reasonably priced hotel rooms, an inexpensive buffet, and many nickel slot machines. It didn’t have million-dollar slot tournaments or big “Player parties” for the top casino players. It also didn’t have top entertainment with big headliners, but it did have the best little revue for your money in Las Vegas—Rocky Sennes Wild World of Burlesque. Rocky had been a part of the Vegas landscape for a long time and knew the entertainment biz inside and out. I think he was convinced to book us as the show's closers after we had a successful run in a show in Lake Tahoe at Harrah's, but it may have been Harvey’s. The show was Too Hot To Handle, and it was a fantastic show to warm up our revue show timing and skills. It was Rocky Sennes who gave The Pendragons their start in Las Vegas. I’ve always been incredibly grateful for that opportunity given to us by Rocky because, during that time in Vegas, Siegfried and Roy reigned as kings of magical entertainment. Their stellar magic show featuring wild exotic cats was the standard on which entertainment directors based their decision to book magic entertainment. All illusionists performing on the Strip in the early 80’s featured exotic cats in their shows. The Pendragons were the first to break that mold, and it only happened because Rocky believed in us. At that time, we fit his budget.

Look at those prices $$$

Our fast-paced, mind-boggling 18-minute illusion show featuring our lightning Metamorphosis as a closer, and without the use of cats, was a hit. It led to more significant opportunities like starring in The Flamingo Hotel and Casino, City Lites Show, an ice show featuring ice skating, showgirls, variety performers and singers, and some of the best skaters in the USA. But it was a hybrid show, and a dance floor was rolled out for production numbers centered around the lead singer or the acts like ours. We also performed at the City Lites Show at Trump’s Castle in Atlantic City. ( That was before Donald Trump enjoyed national fame and notoriety, but he was an excellent boss who paid attention to detail.) But the best opportunity to come our way was from Richard Sturm, who is a legend for bringing the most prominent names of entertainment and sports to Vegas. His career continues today as a consultant for the MGM Grand Resort, where he booked us alongside Jay Leno for a stage successful stage pairing.

Richard Sturm with silver hair. When I worked with him, his hair was brown

Our manager, Rick Marcelli, who believed that regularly sending high-quality postcards to potential clients brought opportunities, sent Richard a postcard at the time. You don’t want to put postcards down when you pick them up because the eight of the paper feels great and smooth under your fingers. The picture is pretty, so you don’t want to throw it away. Rick wasn't wrong. When Richard saw the postcard, he picked up the phone and called Rick. That summer in 1986, we moved to Las Vegas from Surfer’s Paradise, Queensland, Australia, to star in the Jubilee Show. Richard Sturm’s tall, handsome, svelte figure was topped with thick curly hair, and in his more mature years, it is white, prompting US sports writer Larry Brown to comment, "Richard Sturm cannot be serious with this hair. He. Cannot. Be. Serious. That powdered wig look was straight out of the 1600s." But that’s all anyone noticed when this big executive honcho, MGM International's President of Entertainment and Sports, stood to speak at the Floyd Mayweather v Manny Pacquiao —The Fight Of The Century. When I met him, I was mesmerized by his good looks; his hair was part of that package. Regardless of how you saw him, his commanding presence filled a room. When Richard walked in, everyone noticed him. He was always good to me, and I am proud of all the entertainers, giving many entertainers and sports figures “chance in a lifetime” opportunities. Rocky Sennes, with his shorter, heavy stature sporting a cigar in his mouth, and Richard Sturm, with his sophisticated Hollywood good looks, were paternal figures for me during those golden years in Vegas. One was more like a grandfather figure, the other very fatherly. Having these two prominent Las Vegas figures believe in us was good.

Being believed in by someone can be an influential source of encouragement. What Rocky Sennes and Richard Sturm did the most was give me a boost of self-confidence and self-esteem. They inspired my belief in myself. I had to overcome a lot of self-doubt during those days, so their confidence in me motivated me to reach my full potential. Encouragement from people you admire and trust can drive your success and provide you with the strength and support you need to achieve your goals. That’s what these two fabulous men did for me. Since I've learned to pass it on, we can all learn to be pillars of strength to those looking up to us for guidance. It can also motivate you to work harder, persevere through challenges, and strive to live up to their belief in you. Knowing someone believes in your abilities can help you believe in yourself, overcome self-doubt, and reach your full potential. Their encouragement can drive your success and provide you with the strength and support you need to achieve your goals. Consider taking time to recognize the strengths, skills, and qualities of your child, student, co-worker, employee, friend, etc. Let them know you believe in their abilities and you have faith in their capability to succeed. Offer praise and guidance for their achievements. The legacy you leave behind in their minds will be cherished long after you are gone. So Richard booked us for a long run at Bally’s Grand, which recently rebranded The Horseshoe Las Vegas. They had to bring back some of that old west, which was disappearing from the gambling landscape.

As much as I was excited about starring in the Jubilee show, an opportunity coveted by many performers, at the time I wasn’t thrilled about relocating permanently to the desert. But the desert reveals it’s beauty to those willing to look past the veil, and see its magnificence. At the time I knew I would miss my home of California and traveling around the world, but I was soon absorbed into the Vegas 80’s landscape. A long-term gig demands dedication. Only during emergencies can you take time off. What qualifies as an emergency? Both Jonathan and I and other performers continued our shows with broken bones, third-degree severe burns, and tiger and cougar bites. One time, during a Flamingo Hilton City Lites show, I seriously reacted to a vaccine I had received to travel to Africa and India. I was so sick I thought I would have to be hospitalized. Backstage, I was wrapped in a blanket from shivering from my high temperature, and with all the energy I could muster, I went out on stage and performed our show. When it was over, I thought I was going to collapse, but then I felt better enough to take going to the hospital off my options. So you might be in a car accident and cannot be there in an emergency because you are already in the hospital. Those are emergencies. The Show. Must. Go. On.

Unlike The City Lites show at the Flamingo Hilton, the Jubilee Show at Bally’s had a night, so I had one day a week to go to California. It’s about a 5-hour drive. So we bought an airplane and learned to fly. We could leave right after our show and be at Fullerton airport in Orange County or Van Nuys airport in much less time, allowing us more freedom from the restraints of the desert. During that time in Vegas between 1987 and 2000 were some of the best days of my life. When I moved there, the population was about 500,000. When I left in 2000, the population had grown to 1,375,000; today, it’s close to 3,000,000. A city that won’t stop growing. And as it grows, the older parts are demolished, and new growth is born. We lived in a community called The Lakes, located about 3 miles west of Rainbow Road on the outskirts of Vegas. It was a nice little drive out to home from town. And I felt like I lived in the country again, a reminder of my childhood. So before the space between Rainbow and Durango was filled with homes and businesses, I could look out in the desert and watch all the hotel implosions from my perch. Practically every casino and hotel was blown up. Sadly, that’s where I said goodbye to the Old Holiday Casino as I saw it turn to dust, just like The Sands, The Dunes, The Hacienda, The Desert Inn, The Stardust, and The Aladdin. The Imperial Palace, The Frontier, The Thunderbird, and many more — all were destroyed on that 4-mile Strip to welcome new Las Vegas. So, from 1987 to 2009, I lived in a construction room. Building began between our home and Rainbow and continued to the Strip. When I performed at Caesar’s Palace, the constant construction affected driving times and parking. The hotels that were not demolished were rebuilt, adding skyscrapers and parking structures and turning Las Vegas into a town on steroids. The Tropicana and The Flamingo were two hotels that survived but are now scheduled to implode along with The Mirage, which was built after the first set of implosions. It’s a forever-changing city, and I would love to travel in a time machine and see what it looks like in the year 3000. I have a sneaking suspicion I would see buildings implosions and more being rebuilt on top of the old ones, with the layers of entertainers and legends. This was my home and an exciting part of my life. It began on The Jubilee Theater stage at Bally’s Grand.

Sands Hotel and Casino implosion

Entering the backstage to the Jubilee Theater was far from grand, even though it was Bally’s Grand Hotel. The hotel's south side was flat and industrial-looking, facing a big open field and waiting for a new hotel and casino to be built. A paved road was next to it, and you could park alongside the road next to the building. You could look across the field to Paradise Road and see all the small motels, convenience stores, and small restaurants, Including a little Irish pub that held weekly meetings for a local magic club, which sometimes we would attend with my friends Tracy and Phil, who were interested in magic. I think they were on Wednesday night and we went after our show. Occasionally, I’d see Siegfried, who enjoyed close magic but rarely had a chance to perform it, as well as mentalism. This was where he could demonstrate some of his other magic skills. Depending on who attended, it was The Algonquin Round Table of Magic In Vegas. We were given a space to the side of the hotel for our vehicles, where we parked next to the headliners performing in the Celebrity Theater. We all entered through the same back door because the two stages were interconnected with a hallway of dressing rooms for the headliners of The Celebrity Theater and stars of the Jubilee Show. Once you entered the backstage door, security greeted you as you waited for the elevator to your dressing room, or you could take the staircase. It was while I was waiting for an elevator Frank Sinatra entered with a security guard. I remember we had been asked not to greet him unless he spoke to us first. So I was afraid to look at him. Instead, I smiled and nodded to his bodyguard, who greeted me. The whole time, Frank Sinatra was just focused ahead. He wanted to be left alone before a show and focus on his performance. Any interruptions in that process might disturb that brainwave. There was another entertainer whose name I can’t remember. I think Neil Diamond. I can’t quite remember. I heard from a stagehand in South Africa a tunnel was built from his dressing room a short distance from the stage. The stage cut off distractions. I’ve never had that problem, but I can understand. Before a show, I take time to meditate and focus. You want balanced brain waves when you enter a stage, and it’s complex with all the activity around you, plus your responsibilities like pre-show setups, and add a dose of adrenaline rush to the mix, and you have to find a way to remain focused and calm. You don’t want that equilibrium disturbed. That’s why I believe I was instructed not to approach him. I never had the chance to meet him in a situation where he might acknowledge me, but I know other entertainers, stage crew, and personnel have praised his friendliness.

A TV spotlight on The Jubilee! Show from the 1980’s

We performed our first show that night on the massive Jubilee Theater stage, I was closing the Jubilee Show. This was the same stage Siegfried and Roy had performed years prior in the show Hallelujah Hollywood. In 1987, it was the third most significant stage in the world, following the Radio City Music Hall and Bally’s Grand in Reno. Intimacy with the audience was nearly impossible. Showgirls stood over 6 feet tall and measured up to 13 and 14 feet tall with feathers and high-heeled dance shoes. They filled the stage with hundreds of them on stage and tearing on a staircase. If you line-lighted one on stage, they would appear like miniature dolls on the gigantic stage. The audience was unable to comprehend the perspective of how tall these show goddesses appeared up close. We performed our 18 to 20-minute segment of the show without showgirls, so there wasn’t a comparison of my height to theirs. At 5’3” and mostly barefoot, they towered over me backstage like glittering giants. When I met audience members following our show, most were shocked by my petite frame and height. That was an illusion, as I was expected to be much taller. But that’s what the stage will do; it creates optical illusions. A giant stage is also challenging to perform on unless you are used to performing on a big stage. It’s not often you get to practice on one, so your pacing and timing have to change to accommodate everything from costume changes to being on stage in time for your next illusion. For our 20-minute performance, I sprinted like a track runner to appear in the middle of the stage for each segment. In one illusion, I reappeared in the audience after I vanished on stage. I should have been in the Olympics. Lol. Of course, our human bodies acclimate to those changes, and when I would shift to a smaller venue, I had to minimize my movement to reach the center stage. Fortunately, our contract at Bally’s Grand was long enough for me to perfect my timing to accommodate the massive space.

I was exhausted after spending an entire day from 7 a.m. until midnight loading in a show, constructing it, rehearsing it, getting ready for a show, and performing it twice. Still, I received a boost of energy. I was awake most of the night, celebrating our first performance night of hundreds to come. It felt exhilarating, and I looked forward to the next night and all the magic it would bring.

Starring in this fabulous $10 million show (cost back in the early 80’s) and making it my resident home for awhile was a blessing handed to me and one I never expected to experience. If you live with gratitude as the center of your essence and approach life through the eyes of appreciation, you will live a happy and blessed life.

Life after all should be a Jubilee!

Bally’s Grand Casino which was previously the MGM Grand Casino in Las Vegas. This picture shows the side of the hotel with the entrance door to the backstage. Right under the MGM sign. The large part of the building is the Jubilee Showroom