Euphoria is a state of bliss that is beyond happiness that can not be explained in words, thoughts, or action. After participating in the performance of the theatrical show and concert from the Blue Man Group at the Venetian Resort and Casino in
We live in an Orwellian world, in a depersonalized system of government, corporations, work stations, and home lives. We watch TV to escape our entrapment, only to be bombarded repeatedly by the very same system with commercials and inanity. There is no escape, except in Bluephoria.
The only thing that connects us in a metropolitan area is the plumbing. This was noted by the narrator in the multi-media presentations that popped up throughout the show and represented by the PVC piping stage sets during the Blue Man Group’s performance. Modern life is not interactive on a personal face-to-face level, but only through the matrix of cell phones, digital devices, computer screens, and email, all of which are manipulative commercial thought channels. We tune out our neighboring tribesman with Sony walkmans, ipods, and earphones.
In the aboriginal past, we had drums, one of the earliest instruments. Drums drew the tribe together with a reverberating pounding that could be heard miles away through the thickest bush lands. The Blue Man Group is all about drumming, sending out the tribal signal to bring us back to our roots, to communicate through vibration without words, to unhinge our isolation.
They even had a drum that was so huge they had to use a large rubber mallet to make it resonate. What a work out they get. It is as if they are calling us back to our ancestral tribal past for a village festival.
The Blue Man Group is not so much about music or theater as it is about providing a cohesive audience experience, allowing us, no, demanding us to participate.
Water towers on each side of the stage twirl colored bubbling light like lava lamps, also representing the double helix. Dropping from the ceiling are numerous long plastic colored tubes that are first static and then they slowly twist and turn, forming, yet again the double helix choreographed to the music.
Before the presentation even began the ushers unravel long streams of white crepe paper that is rolled out in a stream hand over hand audience member to audience member, unconsciously reminding us how connected we truly are. Then another roll is uncoiled and then another, flowing down the rows unending.
When the crepe finally reaches the stage it is gathered up like a huge twisting beast on a rope, an animated giant of crepe that bounces with the tribal music, each strand of crepe providing mass to the structure.
What this conveys to the audience is the suggestion that we are not separate we are connected to our fellow human beings and to nature itself.
When a couple slips into the theater late disaster sirens blare and scream and a huge neon sign flashes “Late Arrivals” and the camera zooms in on them with all the stage lights pointing them out in their seats as the soundtrack plays a song castigating late comers. The tribe is displeased with late arrivals because you are seen as a non-participant, an outsider, an interloper, a taboo, because they did not engage in the required tribal rituals from the beginning of the show. The Blue Man Group stares at the couple. The audience stares at the couple. The couple has been disconnected. Don’t be late for the Blue Man Group.
According to Blue Man Group’s co-founders, Matt Goldman, Phil Stanton, and Chris Wink, the Venetian show has been designed with emotional impact in mind. According to Wink, “Our trademark has become the blissfulness that our show creates in its own quirky way. The changes we are making are meant to boost the audience’s elation to a whole new level.”
The company is global, with live stage shows in New York, Boston, Chicago, London, Berlin, and Toronto, and for many years in
Blue Man Group is performing nightly at 7:30 pm and/or 10:30 pm at The Venetian in a custom-built, 1760-seat theatre; this is the first time that the Venetian has played as permanent host to a production. Tickets are priced at $85 and $110. Premium seats and VIP packages are also available. Call 702/414-SHOW.
By Kriss Hammond, Editor, Jetsetters Magazine.