“Awakening” at the Wynn, Las Vegas opened November 7, 2022 with a lofty challenge ahead of it: To change the world of entertainment as we know it. To push its boundaries and pave a path for live theater other shows have not been strong enough to create yet. When the trailer hit social media for the first time, I was ecstatic. I watched it on repeat, drinking in the potential this show wielded. The cinematography, the costuming, the lighting, the narration, the set, and above all else, the plot. Safe to say, I was enamored by it all. For days, I frantically showed it to all who I encountered. Ushers, technicians, performers, friends and family in and outside the industry. This, I proclaimed, was the very thing a show was meant to be. It seemed, in that fleeting glimpse, exactly what I wanted to create with my career. A character driven show with modern technology and an in depth plot to back it.

A couple weeks after its debut, the reviews began to pour in. A surplus of praise with no critique in sight. I saw not one bad review. A feat in recent years, here in Las Vegas. Shows have come and gone in a blink, trying the same thing Awakening attempted. To put a modern twist to live entertainment. “R.U.N.” by Cirque Du Soleil, and “Bat Out of Hell” at the Paris two of the more recent ships to have sunk on this mission. One day, a friend came to me with two tickets to Awakening, an invite through Bat Out of Hell. We went alongside performers and crew from both the new Meatloaf musical and Luxor’s “America’s Got Talent Live”. As we stood outside the lobby, the first show’s audience pouring into the hall, the review trend carried on with its positivity. People left in awe of the spectacle they’d seen, whispering amongst themselves about how beautiful the show had been. At this point, my bar for the show was at an all time high. The doors opened, and at last, we entered the lobby, the ceiling above, a shattered scape of fragmented glass, illuminated in a glittering spectacle. As artful as the show had set the expectation to be. Something to note, as well, were the stacks of programs available for us to take, containing a stunning display of information, art, and conceptual details of the show ahead. Within its pages, it doled out extensive credit to all who were involved, and even included the ushers. There was little, I’d thought, that the show could do wrong with all that’d led up to this point done so right. We took our seats, and soon, the show began.

This, unfortunately, is where the magic died. The following review has sat in my notes in bulleted form since the day I saw the show. I couldn’t bring myself to share it beyond a few like-minded friends. It would stay in my drafts, I’d decided, until the show went down or I could see it again. Then, the news of its pause hit the media. A period for rehearsal. A revamp that its predecessors in boldness never got. A chance to do better. So, for any who saw the show and thought it lacking, for any who were a part of its creation and are now facing the daunting revamp process, for any creators looking to study the mistakes of other shows in order to avoid making them in future efforts, as I am, here it is: The show that could have been.

The Prologue – The Foundational Myth: The origin story depicting the love between Darkness and Light, the birth of Magic and the subsequent shattering of their relationship.
As the lights fade to black, and conversation fades with it, two humanoid puppets emerge from the center of the stage, circling round and round each other in simplistic lighting as Anthony Hopkins narrates an expository story.

It was a weak start to a show that demanded extravagance. One of the only parts of the show that lacked abundant spectacle. Some may argue that it was the prologue, thus didn’t need spectacle. To which, I agree, but it needed something more than puppets. My suggestion? Bring out the two main characters of this tale, let Light and Darkness stand together on a rotating platform. Even if they do nothing but stand with each other, looking at each other, it would be enough. Puppets cannot tell this dynamic love tale of light and darkness alone. It needs emotion. It needs tension. It needs humanity. Alternatively, take out the performers entirely. Leave the storytelling to light play and darkness. Let the audience imagine this tale as it unfolds, guided by lighting. Use the artistry and narrative power of light to your advantage. Use darkness to your advantage. After all, imagination is born in darkness. A concept the show tried to showcase but didn’t trust its audience to understand.

The Heist – A Black and White Ball: One thousand years after the events of the Prologue, a trio of thieves—IO, Bandit, and Boo—sneak into Darkness’ Black and White Ball, intent on stealing from her guests. Instead, they steal Magic (now caged in Darkness’ scepter), sending Darkness into a frenzy.
The exposition given, we enter a world of black and white. The ensemble takes the stage in grande form, and a party commences. We meet our three heroes as they set to rob the guests at this ball. IO takes the most coveted prize. Magic from the top of Darkness’ scepter.

This scene brought spectacle front and center. It had a few bumps and bruises the night I saw it, byproduct of opening week, but those can be forgiven. In The Heist, the audience gets its first viewing of the extravagance poured into the show. The costumes are eccentric, bold, and artistic, the lighting sets the scene of the revel, and the music pulsates with an upbeat rhythm like that of a club. A futuristic ball in an otherworld (or as my colleague put it: A step into a Lady Gaga concert). It was spectacular, but it was not without its flaws. The heroes, to name the first. They fell flat almost immediately, their dialogue choppy and poorly delivered, due both to the script and the acting. The choreography, too, fell flat. Perfect for a halftime show or concert extravaganza, but severely lacking in the artistry required of this show. It needed dynamic, levels, depth of motion. The movements were very upright and done simultaneously in large quantities, displayed on all sides of the stage to create a flat visual. It needed to utilize the theme of balance. Silence is just as important as the noise. Diversify the movement and the mapping of formations and timing. Slow it down, speed it up, draw focus, release it. Isolate spaces, characters, movement phrases, then compile them. The music and lighting, too, can aid in this.

The Trio – A Dungeon: Magic reveals its power to the trio and determines IO to be a worthy ally. The Narrator sends IO, Bandit and Boo on an epic journey to find treasures in the Water, Earth, and Air Realms. Unaware of the significance of these treasures, IO and her friends set off on their adventure
IO, imprisoned within the stage is rescued by her companions. Magic reveals itself, floating around IO in a whimsical display. Reunited and free, the heroes set off to other realms to collect fragments of Light.

Here, if my memory serves, the audience was shown the versatility of the stage mechanics. It broke apart, consumed IO and imprisoned her within its pillars. It was a stunning display of engineering that rivaled “Ka”, but in nature, it lacked the versatility Ka’s stage has. It was utilized this once to its full extent, and only fleetingly. It felt a scene added to ensure the stage was shown off in a show that did not require its abilities. Once free, Magic was introduced as a character, cavorting about the stage and seeping into the LED flooring. Visually, it was beautiful, but again, the characters fell flat. Between this scene and the previous one, the characters began to take shape, and their shape was two dimensional. They were stereotypes in physical form, and the script with its awkward cadence and attempts to sound “hip” did not salvage them. IO became the foolhardy heroine. Bandit became the buff, conventionally attractive love interest with more strength than intelligence, and Boo, the only other main POC character, became a comedic wingman who was scared of everything. And that was all they were. That was all they would ever be. The Narrator, after Magic chose IO, sent these characters on a quest, one that should have given these characters growth, but didn’t. The tether between the quests and the overarching plot felt loose and disjointed, but I will go into that later. For now, I want to focus on the Narrator. In a show like this, where plot, story, and characters are the driving force of the narrative, but words are few and far between, this narrator as a character can be vital. An external force to guide the audience along. It breaks the fourth wall a bit, sets upon the world a god-like character that can be utilized. Structurally, here, it made sense. It enforced the Hero’s journey and drew them into their call to adventure. I do wish, however, that it was something internal that guided them. Not a puppet master pointing at their next goal, but a reason, some ounce of depth to the characters that urged them forward. A desire, a want from each character that pushed them into this adventure.

Water Realm – The Realm of Light’s Ego: IO, Bandit and Boo encounter the Light of Water and his zany underwater creatures. When he realizes IO possesses Magic, things get nasty. With Magic’s help, IO and her friends must outsmart the Light of Water and retrieve his Water Crystal.

From this point on, my memory of the plot is hazy at best. Having only seen the show once, and that months ago, I don’t remember what the Narrator said to set our heroes upon their journey. I don’t remember the purpose the crystal pieces served. No one else who went with me can recall, either (A sign, perhaps, of the plot’s quality). There were other elements, however, that were worthy of note. The costumes, to name one. They were things of elaborate design. A spectacle of their own beneath those stage lights. As magnificent as they were, though, I worry they hindered the range of motion for the performers. It felt more like a parade or fashion show than it did a dance.
The characters, submerged within this parade, sought to retrieve the Crystal of the Water. How did they go about this? Well, Magic, of course. Decades old feats of illusion long expired of the wonder they once wielded. Meant to be the pinnacles of the show, these tricks left us, again, longing for more. It would have been better, I think, to have stuck to the metaphor. Make it an internal battle. If it is Ego IO is learning to conquer, make her face something that douses her own ego, a mirror to Light’s quelling his. Give her change, dynamic, feeling. Make Ego a worthy villain. Make the acquisition of the crystals a well earned thing.

Earth Realm – The Realm of Light’s Fear: Darkness sets a trap for IO in the Earth Realm. The thieves enter and encounter a beautiful Nymph, who lures them into a treacherous trap. After a tragic turn of events, IO feels all is lost. Moved by her bravery and heart, the Light of Earth forms out of the surrounding environment’s trees, rocks and detritus, producing the Earth Crystal and giving it to IO.

Just as the internal battle over Ego was shallow, the emotions in this scene followed suit. At some point, Boo is captured, and I felt nothing. No fear for the character’s safety, no attachment, no sense of loss. Nonetheless, IO, in whatever grief she had, stayed strong, and the Light of Earth gifted her with the crystal she needed, the puppet comprised of all the detritus-clad dancers scattered throughout the stage. It was a lovely scene in a visual sense, the darkness and ominous quality of the beginning, and the massive figure built by the ensemble in the end, but again, fear held no presence. We, as viewers, were told to be afraid. We were not connected enough to the story or the characters to genuinely be afraid. The puppet, too, served little purpose beyond aesthetic. It felt a scene built around the concept of this puppet more than it felt a puppet built for the needs of the scene.

Pas De Deux – A Space Between Realms: Bandit attempts to console IO and they resolve to rescue Boo during a tender Pas De Deux.

The lack of emotion was a constant plague throughout the entirety of this show. After one of our trio has been captured, the other two are left to face their grief together. They share this slow dance, but there is no chemistry between them, nor is there any heart to the choreography. What could have been an impassioned piece became more of an embellished promenade around the rim of the stage. The movement was stagnant, and I found myself envisioning different choreography in its stead (A thing that certainly should not have occured, as choreography is one of my weakest creative languages). It should have been something more invoking of grief, of love, of fear. Bend, contort, ground the movements, and use the whole body. Dance is as expressive an art as music. Use it.

I admit, I remember very little about the remainder of this show, and what I do remember warrants the same statements as before. Thus, to avoid redundancy, I will walk you through the rest of the program and give further commentary after.

Air Realm – The Realm of Light’s Desire: Bandit and IO travel to the Air Realm, where the light of air tries to seduce IO into joining him and his followers into their hedonistic world forever. In the nick of time, IO snaps out of her trance and recovers the Air Crystal.

Alone With Darkness – A Liminal Space: IO and Darkness Face Off. Darkness demands IO relinquish Magic

Fire Realm – The Realm of Truth and Story: IO and Bandit travel to the Fire Realm, where a celebration is underway. A Hunting Party has captured one of Darkness’s fearsome Flying Shadows. Aided by Magic, the Storyteller performs a ritual on the Shadow with joyous results. IO, Bandit and Boo cheerfully reunite—but at a price.

Storytelling – In the Fire Realm. The Realm of Truth and Story: With the Storyteller as his vessel, the Narrator describes the true story of Light and Darkness, revealing that the crystals IO has collected from the elemental realms are actually fractured pieces of Light. IO and her friends must risk everything to reunite the Light Crystals in order to bring Light back and Free Magic.

Confrontation – The Realm of Darkness: Darkness and her Sentinels prepare for an epic battle with IO and her friends.

Reconciliation: Light and Darkness are reunited. They embrace as Magic fills the theater and the Fire Realm community emerges to join them in celebration.

Celebration: The Realm inhabitants celebrate that harmony has been restored to their world.

The Air Realm was a sensual scene set in what can best be described as Light’s opium den. As so many moments in this show, I failed see the purpose of it. Beyond the potential theme of denying sins for Light to be its strongest, it did little for the plot. My only excuse for it is that it seemed a nod to the Wiz, when the characters are diverted from their path by drugged air and seduction. Something I will give the scene credit for, however, is that it did a better job of organizing stagnant chaos into dynamic moments, isolating groups of dancers and guiding the eye from one part of the stage to the next. The Fire Realm likewise held more dynamic, drawing from African and Native/Aboriginal roots for the choreography. Though, the scene as a whole felt extremely out of place.
Near the end, another moment of note occurred in Reconciliation. Darkness stood on a platform off to the side, and the entire theater was cloaked in dark. Suddenly, Light appeared center stage, and in that fleeting moment, there was more wonder, more emotion than had been in the entire show. For it understood the need of balance. Darkness balanced with light. Silence balanced with action. Tension balanced with release. That moment when all was forgiven, and Light and Darkness faced each other once more. Harmony.
Following this moment, an unearned party ensues, and a phoenix emerges that had no prior mention in the show. Something to do with light and rebirth, I assume. Unfortunately, at this point, I was just glad the show was over.

As the cast departed, and the houselights returned, dragging the audience back to reality, we rose from our seats and shuffled out with mutterings of discontent and the somber wish that it had been more. Months have come and gone, and with them, more review have come to surface. I have found in them that we were not alone with our thoughts. Many have left the show feeling slighted of something. I read one review before embarking on my own that critiqued the show for how seriously it took itself. They believed it needed more humor, more cheap laughter. I disagree with that complaint. I think it did not take itself seriously enough. We have enough Spiegelworld in this city. We even have Cirque trying to be Spiegelworld at New York, New York. Vulgar, humorous variety shows have been done. Perhaps overly so. What Awakening tried to do was bring something new to the table. But like one of its Vegas predecessors, “R.U.N” by Cirque Du Soleil, it took a leap into the future with one foot ensnared in the past. With its illusions and spectacle, it clung to the makings of older shows and did not give itself fully to its task. In the end, I don’t think the show knew what it wanted to be, and that left it convoluted with senseless material. It needed focus. It needed story. That is the key to modern entertainment. It is why Ka has thrived as long as it has. It fused story with artistry, authenticity, and incredible innovation. “Hadestown” and “Hamilton”, too, on the Broadway end, have swept the stage with their heartrending tales, smooth in their delivery and balance of character, emotion, and visual spectacle. They have proven in their mastery of story that theater can evolve beyond vaudeville and abstract pageantry if we allow it.

So what can Awakening do to improve its prospects?

1. Bring in a test audience (beta viewers if you will) before opening/reopening. So often, local talent is invited to new shows a week or so into opening, or at the earliest a day or week before opening, and by this point, it is too late, Sufficient changes cannot be made until months later when a revamp may occur. Bring in and listen to your test audience whilst the show is still in the works. I have heard countless outpourings of audience members murmuring critique and reviews, and the best feedback always comes from those local talent test audiences. They shred the show as thoroughly as I’ve done here in casual conversation as they depart. Let the producers stand in the doorways as this audience files out, listen to what is said. The show will be better for it.
2. Change the beginning. The circling puppets are not enough to hook viewers, nor immerse them into the world. If the Prologue is required to understand the world and the story, change that. Exposition, in any great story, should not be dumped on the audience at the beginning. Feed the information to them slowly, let it conclude and fall into place at the end.Even if the lobby needs utilized, begin immersing people into the world immediately upon their walking through the door. Tell the exposition in fragments as they walk in. Everything they come across should dip them further into the story until they sit down and the show consumes them fully within its world.
3. Strengthen the characters. Give them each full character arcs, fleshed out personalities, and goals/desires that drive their choices and actions. Break free of the stereotypes. Give them depth and genuine humanity. Make them raw.
4. Change the script. Give further meaning and purpose to the realms the characters visit. Fully embrace the metaphor. Ensure, also, that each emotion/victory/defeat is earned. It is too easy, too shallow at present. (And for the love of the gods, please stop trying to be hip with your verbiage. Dialects change in an instant and something popular becomes outdated and cringe inducing with rapidity, especially when delivered and/or written by those who never understood its usages in the first place)
5. Utilize smaller talent. While Hopkins’ voice made for wonderful narration, it limits the ability to change. In addition, big names do not draw in enough attention to make them worth the cost. Equal talent can be found elsewhere.
6. Add depth of motion to the choreography. Make the costumes danceable and use the entire body to tell the story at hand. Add dynamic to the formations and layers within them. Just because it is in the round, it is not required to do the same motions over and over facing different sides. Choreograph to all fronts and get creative with how you do it. The audience won’t all see the same thing, and that’s okay. That is the magic of live theater. Everyone within the audience experiences something different.

With these changes, I truly believe the show could thrive. Awakening is very clearly the passion project of many involved, and so much work and soul has been put into it. I want to see it succeed. I want to see it pull through the trenches where other shows have perished. I want it to pave the way, to lead the charge of modern innovation and storytelling into the next era of live entertainment. To all who have been a part of this project, I applaud you and your efforts. My best wishes, and good luck.