Terry Fator is back — with everyone from ‘We Are the World’
I want to cruise the Strip with Vikki the Cougar, in my ‘67 Mercury Cougar. So does she, and so does Terry Fator, who goes the extra mile.
A quality we have picked up from Fator over the years: To set his show apart, he gives far more than he needs to. For years at The Mirage, Fator employed a killer band. He created a musically superior show, when singing to tracks would have been acceptable for those who knew him from his “America’s Got Talent” Season 2 championship.
Fator eventually dismissed the musicians as his sales slowed. But I’ve always appreciated that he had live players on stage for as long as he did, while he sang his tributes to Julio Iglesias, Willie Nelson and Etta James.
The 17-year Vegas headliner is at it again at The Strat Showroom. Fator has a new act, singing Queen’s anthem “Bohemian Rhapsody” live while operating a new Freddie Mercury figure. It took Fator six months prepare that number for the stage.
Even if ventriloquism (or Queen, for that matter) is not your thing, it is impressive. He also duets with the projected image of Celia Muñoz, champion of “Spain’s Got Talent,” on “Time to Say Goodbye” by Andrea Bocelli and Sarah Brightman. Those who sing opera report that it is fairly difficult, even with your mouth open.
Fator sings in more than 50 voices in his new show. Even the backing harmonies tracked in are his.
The 59-year-old showman also sings the 19 parts in “We Are The World,” live, in all performances. This is in the order of the voices on the iconic song and video, naturally. Fator sings as Bruce Springsteen-Kenny Loggins-Steve Perry, while operating the tiny figures of every superstar.
As he sings each line, Fator hastily tosses the little heads to the stage, which itself is a funny move.
Fator’s video of the song opened his show at Liberty Loft at New York-New York, with the headliner later revealing to the crowd that all voices were his. But he sang live even off-stage, knowing one day he would need to produce the vocals in front of an audience. It is something else. I’ve said for years that nobody does what Fator does, and that is such a moment.
He’s also incorporated a levitation moment, sending Barry Fabulous floating skyward. Cirque du Bar-ry, as it were. I believe this is the first aerial ventriloquist puppet ever in a Vegas stage show (next, let’s load Barry onto the Wheel of Death).
The magic moment, developed over time with Criss Angel, is another use of the craft that Fator owns. The ventriloquist who has nothing left to prove refuses to sit still.
John Katsilometes’ column runs daily in the A section. His “PodKats!” podcast can be found at reviewjournal.com/podcasts. Contact him at jkatsilometes@reviewjournal.com. Follow @johnnykats on X, @JohnnyKats1 on Instagram.
