‘Frank Marino: Divas Las Vegas’

Or at least some new costumes and music. A larger stage, decent lighting and a microphone that doesn’t echo.

If that’s all it took to turn "An Evening at La Cage" into "Frank Marino: Divas Las Vegas," these girls got the party started months ago.

The drag revival has been running at the Imperial Palace since October, before producer-star Frank Marino declared it ready for press scrutiny last week. (Even then, he said the new set’s built-in lighting malfunctioned.)

It’s amazing what a makeover will do for a girl’s self-esteem. But those who remember the 23-year run of "La Cage" before it ended a year ago February will find the "new" show very familiar.

It brings back most of the "La Cage" cast, not to mention Marino’s jokes. It preserves all the old revue’s strengths — and a couple of its weaknesses — amid some basic, no-brainer improvements.

Host comedian Marino isn’t the only veteran whom drag fans will recognize. There’s Steven Wayne, who nails Celine Dion’s posturing and facial expressions so right-on, first-timers won’t guess they will see him later as an equally convincing Cher.

Chris Woods returns with the easy gig as Diana Ross. Hasn’t the real one looked like a drag queen the past 20 years? But he also keeps the memory alive of the young Whitney Houston, while the real one’s still not doing so hot if you read about her current tour.

And thank goodness "Proud Larry" Edwards — absent from "La Cage" since his 2004 dismissal — is back not only in his Tina Turner wig and heels, but as the new comic relief in a Beyonce bit. Granted, all drag is somewhat camp by definition. But so many of the "Divas" take their impersonations so seriously, we welcome the moments when we know it’s OK to laugh with the show and not at it.

Beyond the technical upgrades, Marino and co-producer Adam Steck leap to the present with a Lady Gaga tribute and athletic choreography by six buff male dancers. It’s all a needed energy boost.

But in the past, Marino was able to blame the shortcomings of "La Cage" on the show’s producer, Norbert Aleman. Now that he and Steck say they are accountable, open to input and encouraging a new team spirit, here are three suggestions they really should think about.

1. Don’t let the drag middle out.

Granted, even in 2010, this revue is "Drag 101" for many an audience member. But many more will be wondering why Madonna or Shirley Bassey look like dudes, yet still lip-sync?

There should be two ways to make the cut. The first would be an amazing drag illusion, such as "America’s Got Talent" contestant Derrick Barry showing a daring amount of skin as Britney Spears. In lieu of that? Actually singing the songs into a live mic, at which point we might forgive a less-than-uncanny resemblance.

2. Make Joan Rivers a segment, or lose her altogether.

When Marino was a youngster in 1985, "La Cage" hired him as a Rivers impersonator. The real comedian eventually protested, and Marino no longer mimics her voice or uses her jokes.

But he still is introduced as Rivers, and at some point a "Can We Talk?" sign drops down behind him. So make that a specific segment, the way they do the diva impressions. Start the show as Marino, then return later as Rivers.

Perhaps that hasn’t happened because …

3. Marino needs to take more chances.

Glory be, he added a Tiger Woods joke. ("Even Santa Claus stopped at three ho’s.") But those of us who know Marino offstage find him to be more naturally, effortlessly funny than a rusty monologue would suggest. A possible way to reconcile that? Let him wing it; work the crowd. Open up part of the show to audience questions.

After all, people are still curious about drag. If not, the rhinestones and ostrich feathers of these "Divas" would still be in the closet.

Contact reporter Mike Weatherford at mweatherford@ reviewjournal.com or 702-383-0288.