CHER ANNOUNCES ADDITIONAL LAS VEGAS SHOW DATES AT PARK THEATER AT PARK MGM IN 2019
Tickets for Six New ‘CLASSIC CHER’ Shows On Sale Friday, March 8 at 10 a.m. PST
March 4, 2019
As the one and only Cher prepares to return to Las Vegas next week for her acclaimed engagement CLASSIC CHER performances at Park Theater at Park MGM, due to incredible ticket demand six new shows have been added.
The additional show dates scheduled August 21 – September 1, 2019 will go on sale to the public beginning Friday, March 8 at 10 a.m. PST.
Now in its third year, CLASSIC CHER, continues to garner rave reviews and remains one of the must-see shows on the Las Vegas Strip.
The over-the-top production celebrates the Oscar, Emmy and GRAMMY Award-winning artist’s phenomenal 50-year career in music, film and TV and features her top hits including “If I Could Turn Back Time,” “Believe,” “I Got You Babe” and “I Found Someone” along with highlights from her most recent ABBA tribute album Dancing Queen.
The six new show dates going on sale are as follows:
8/21/2019 - Las Vegas, NV @ Park Theater at Park MGM
8/23/2019 - Las Vegas, NV @ Park Theater at Park MGM
8/24/2019 - Las Vegas, NV @ Park Theater at Park MGM
8/28/2019 - Las Vegas, NV @ Park Theater at Park MGM
8/31/2019 - Las Vegas, NV @ Park Theater at Park MGM
9/1/2019 - Las Vegas, NV @ Park Theater at Park MGM
Showtime is 8:00 p.m.
We Got Her, Babe: Cher Stands Alone
There’s no other career quite like hers in the history of pop music, and right now, it’s hitting a new peak
By ROB SHEFFIELD
February 28, 2019
At this point, Cher is more than just a pop star; she’s the one-woman embodiment of the whole gaudy story of pop music. She’s a myth so huge that the new Broadway musical The Cher Show takes three different Chers to encompass her — Babe Cher, Lady Cher and Star Cher. She was just 16 when she got discovered by Sonny Bono, already a seasoned music-biz shark, and soon became his hippie bride in a blur of miniskirts and fringed vests. Everybody thought she was washed up by the time she turned 20, but she refused to go. “If I Could Turn Back Time” became her theme song because the battle of Cher versus Time turned out to be a mismatch. It’s Time that has trouble turning back Cher.
In the past year, she’s enjoyed a high-profile twirl in the blockbuster Mamma Mia! Here We Go Again, stepping out of a helicopter to belt “Fernando” to Andy Garcia. She topped that with a smash album of ABBA covers, Dancing Queen, saluting one of the only pop franchises that can match her for indestructible cool. She just got her lifetime-achievement coronation at the Kennedy Center, complete with Cyndi Lauper and Adam Lambert serenading her with “I Got You Babe.”
There are no other careers remotely like hers. She spent the Seventies cracking cornball jokes on The Sonny and Cher Show while notching creepy Number One hits about sordid sex and bloodshed. (“Dark Lady”? That song is…a lot.) But “Believe,” her most iconic hit, is the Nineties disco anthem she sang when she was 52. She’s been on her farewell tour so long, it’s old enough to vote. When she showed up at the MTV Video Music Awards in 2010, she took pride in announcing, “I’m the oldest chick with the biggest hair and the littlest costume.”
Over the years, she has hopped on almost every music trend — Studio 54 disco in “Take Me Home,” Sunset Strip hair metal in “I Found Someone,” rage-queen glitz punk in “Save Up All Your Tears” — and made it her own. She invented red carpets and infomercials and humping cannons on battleships full of sailors. People said she couldn’t sing, yet she always sounds like herself, with that consonants-only vocal style that batters every note into her signature mega-nasal power honk.
The Cher Show turned into a cause célèbre when Kanye West attended opening night and the guy playing Sonny Bono had to tweet at him to ask him to turn off his phone. The truly shocking twist? Kanye’s response: “The dynamics of Cher and Sonny’s relationship made Kim and I grab each other’s hand and sing ‘I got you babe.’ Please pardon my lack of etiquette.” Inspiring Kanye into a spasm of non-douchitude is hardly the least of Cher’s accomplishments.
By now, she’s part of every pop story — every legend has a Cher moment in it, from Britney (she got her start belting “If I Could Turn Back Time” on the local-fair circuit) to Nicki. (Remember when Cher and Miss Minaj had Twitter beef for a minute?) She gets one of the funniest moments in the new Beastie Boys Book, when Mike D’s wife, Tamra Davis, is directing a Cher video. On the first day of the shoot, the star walks up to the director, introduces herself and announces, “I’m gonna be wearing leather. A lot of leather. Get used to it.” She was rock & roll enough to marry into the Allman Brothers for nine whole days of wedded bliss. She and Gregg Allman didn’t have much to say but hit it off enough to make their duet album as Allman and Woman. In the musical, they commemorate their passion with a duet on “Just Like Jesse James” that brings down the house.
In a way, the moment that sums up her genius is her awesomely ridiculous 1975 TV duet with David Bowie. They start out bumping and grinding to “Young Americans,” then swerve into a bizarro oldies medley, with Bowie down on his knees crooning doo-wop to her. It was a mission statement for both of them, in their quest to encapsulate the whole pop past and warp it for the future. She’s really picked up the torch from Bowie — and like him, she does it by constantly changing. As she used to sing, the beat goes on. For Cher, it always does and always will.
This story appears in the March issue of Rolling Stone, on newsstands next week.
Cher teaming with Speaker Nancy Pelosi, Mindy Kaling, Alyssa Milano for International Women's Day celebration
By SEIJA RANKIN
February 20, 2019
This year’s International Women’s Day is about to become a star-studded event — thanks to a singer we like to call Cher.
VH1 is marking the celebration of all things female with the VH1 Trailblazer Honors, a one-hour special dedicated to some of today’s most respected politicians, entertainers, artists, and activists. At the center of the big event will be four honorees: Speaker Nancy Pelosi, #MeToo movement founder Tarana Burke, director Ava DuVernay, and Handmaid’s Tale author Margaret Atwood. EW can exclusively announce that none other than Cher will be on hand to present to Pelosi — but we can’t confirm whether she’ll arrive via helicopter or not.
The television special, which is set to air Friday, March 8, at 9 p.m. ET/PT on VH1 and Logo, will also feature performances by Rita Ora and Elle King (who will sing “Baby Outlaw” from her latest studio album, Shake the Spirit) and appearances by Anita Hill, Mindy Kaling, Alyssa Milano, and Samira Wiley in addition to the honorees.
Mamma mia indeed.
Three women share the role of Cher on Broadway. They call it "Cherapy."
February 13, 2019
The life story of legendary singer and actress Cher has been given the Broadway treatment. It's called "The Cher Show" and the lead role is played by three actresses whose names represent the different stages of Cher's life: Star, Lady and Babe, portrayed by Stephanie J. Block, Teal Wicks and Micaela Diamond, respectively.
"CBS This Morning" co-host Gayle King met with the ladies of the show and Cher herself, who opened up about the joys and challenges of bringing her story to the stage.
"I didn't know what I was getting into … I didn't know that when you're telling the person about your life, and you're sitting there and you're kibitzing and all that, and then, all of a sudden, you go there and you see in real time, in real life, what you went through," Cher said.
Cher is a producer on the show, and gave her feedback up until opening night. At the beginning, she wasn't happy with how it turned out.
Wicks said, "It came down to, OK, well, we are here together on this stage in front of all these people no matter what, trying to put on a really good show and get to the heart of this woman and I think what made her such a great actor is that she's tapped into human authenticity and I feel like we all had to believe that we are authentic actors and that eventually she would be on board with us."
Today, she's very happy with the show and even worked with the actresses individually.
"Immediately, she wanted to work on my walk … this is the thing with Cher, and I've said it a couple times, but I think it's right, she's not a 'but,' she's an 'and.' She's feminine and strong. She's yes and no … so with me, she kept saying, 'You need to be a bit softer.' You know, I'd never really thought or viewed her in that way, but that's the way she views herself."
Cher also told Wicks she's "not that tough." "She said it in a way that's like she's still shocked that people think that she's this tough chick," Wicks recalled.
And she reminded Diamond that she has always been "painfully shy."
"Even as she grew up ... she really was just thrust into different challenges, and she just kept rising to the occasion," Diamond said.
All three women are thankful for the opportunity to portray such an inspiring woman, and for having each others' company in the task. They call it their "Cherapy."
"It's really special as an actor to have such lovely scenes with other women … it's very therapeutic, it's our Cherapy," Wicks said.
"I think it has gifted me a sort of freedom and acceptance," Block said. "So I speak up more, I believe in myself more ... and that's all because I'm playing Cher. So I'm a different Stephanie because I was gifted this role."
Cher made us believe in more than just life after love
at Little Caesars Arena
By Jerilyn Jordan
Detroit Metro Times
February 13, 2019
Sixteen songs, nine costume and wig changes, four video montages, three ABBA covers, and one duet with a late ex-husband via video screen, and what you have is but the tip of the iceberg in terms of Cher's latest farewell spectacle.
The iconic performer and actress took to the Little Caesars Arena stage Tuesday night, armed with nearly six decades worth of material and turned back the clock with an energetic and, at times, delightfully campy romp (at one point she emerged from the top of a robotic elephant in Indian garb) through her resilient career.
The 72-year-old Cher opened the show surrounded by sexy gladiators and warriors while she emerged wearing an untamed orange wig, metal headdress, and a glittery frock with a mile-high slit and launched into 2013's "Woman's World" and "Strong Enough" from 1998's Believe.
Harkening back to her Sonny & Cher Comedy Hour days, the living legend then unleashed a sprawling, seemingly improvisational, 15-minute monologue, during which she dished on her life-changing 48-hour 40th birthday, her David Letterman debut, owing back taxes, performing sad dinner theater in Windsor casinos, Studio 54, and Nicolas Cage.
"I was just about to do a movie with Nicki Cage," she said in reference to Moonstruck, for which she won an Academy Award. "I was 40, he was 21 and honestly, I looked better than he did. Just sayin'."
And she was able to unintentionally rally the thousands in attendance to boo Jack Nicolson and director George Miller for having told the actress that she was too old and unsexy for her role in The Witches of Eastwick. Cher said all of this, mind you, while dressed like a goddamn resurrected Roman Empress.
Throughout the night, Cher limited herself to minor dance gestures and toggled between stomping across the stage (in sensible footwear, mind you) and stationarily basking in the spotlight while supported by a bevy of dancers and elaborate choreography. Her voice, however, seemed virtually unaffected by her 50-plus-years as a performer and yes, her vocals were live (she laughed during a verse of "The Shoop Shoop Song (It's in His Kiss)" and it was incredibly endearing) though, again, supported by some strategic backup singing.
Wearing sequin bell-bottoms, the most touching moment straight out of 1965, when Cher joked that she had planned on saving the following song for her next farewell tour, but, instead, performed "I Got You Babe" alongside a video screen and an old recording of her late ex-husband and partner Sonny Bono.
She threw in a few covers "Walking in Memphis" by Mar Cohn and "The Shoop Shoop Song (It's in His Kiss)", and tossed a bone to anyone who saw her 2010 movie with Christina Aguilera with "Welcome to Burlesque."
The centerpiece of the 95-minute show was Cher's take on three ABBA songs ("SOS," "Waterloo," and "Fernando,") which might seem random if you didn't know that Cher released 2018's Dancing Queen — a collection of ABBA covers released in conjunction with Mama Mia!: Here We Go Again in which Cher stars as Meryl Streep's mother (yes, Cher looks that good.)
To round out the set and as a true testament to her show-womanship, Cher emerged in a cheeky see-through black one-piece complete with garters, black leather jacket that was more revealing than when she wore it famously in 1989 for last night's renditions of "I Found Someone" and"If I Could Turn Back Time.
Closing out the evening, Cher gave everyone what they came to see and hear: "Believe" — her empowering autotune-heavy dance banger about second chances that is, even today, ahead of its time.
Wearing a red wig, and a bejeweled, flapper-style, barely-there dress, and nude bra, and using less autotune than she did in 1998, Cher left us believing in something bigger than life after love, or anti-aging wizardry, or the power of reliable nipple pasties — we left believing in Cher.
Following the performance, snippets of audience commentary ranged from "She didn't play enough old songs," to "she sounded perfect," and "I can't believe she wore that."
But early in the evening, Cher gave us a stern reminder:
"This is me, you came to see me. This is what you get."
Cher at the United Center review:
Defiance, confidence, determination ... and dazzling outfits
February 6, 2019
On the surface, Cher’s concert Friday at a rafters-packed United Center celebrated the art of extravaganza. A multi-tiered stage, a mobile elephant, Cirque du Soleil-inspired acrobatics, an entourage of dancers and a department store’s worth of dazzling outfits occasionally threatened to make the music incidental.
But between the lines of the costume-change breaks and choreographed skits, the singer’s 100-minute show resonated with empowering messages relevant to today’s #MeToo era. Not for nothing did she begin with a pair of songs— “Woman’s World” and “Strong Enough”— steeped in defiance, confidence and determination. Or use her sole turn talking to the crowd at length to tell personal stories about facing age discrimination, sexism and self-doubt.
By now, independence is second nature to Cher. Well into her sixth decade as a multi-disciplined artist and activist, she long ago conquered practically every entertainment medium on her own terms and seemingly anticipated the ongoing wave of burgeoning female musicians—let alone the trend of spectacle-based performances. She relayed such histories via archival video clips, narratives and song, yet managed to mostly avoid stale nostalgia.
Balancing a witty sense of humor with diva glamour, Cher paid homage to creative contemporaries and revisited the different periods that launched several of her hits. And whether strutting amidst a throng of Roman-themed warriors, traveling back to the Summer of Love in glitter-adorned bellbottoms or overseeing a burlesque cabaret, she used pop as a means to dream, imagine and triumph. An up-tempo cover of ABBA’s “Waterloo” buzzed with possibility on the strength of her voice. “The Beat Goes On,” appointed with exotic French ye-ye-style rhythms, connected the past to the present.
At times, Cher turned suggestion into declaration. A visual highlight reel of her acting roles emphasized film dialogues and scenes that depicted her in control or moving on from a toxic situation—or man. In another prerecorded segue, she spoke about how her childhood attraction to Elvis Presley related not only to his music, but the fact he followed his own muse. Cher carried on such tradition while possessing an awareness that witnessed her mock her own vanity, retirement and mistakes.
For all the fancy wigs and elaborate apparel, Cher never appeared overshadowed. However, a video-based duet with her deceased ex-husband/partner Sonny Bono on “I Got You Babe” came across as canned and mawkish. A few of the interruptions necessitated by wardrobe changes also stifled momentum and felt unnecessary.
Any missteps melted away once the 72-year-old singer emerged toward the end of the set in a revealing body-stocking/bikini ensemble similar to the one she wore in the famous video for her 1989 smash “If I Could Turn Back Time.” Far from playing to any sexualized gaze or fantasy, Cher pulled off the bold look and upended age-themed conventions out of a desire to be herself and embrace autonomy—ideas she successfully shared with every woman in earshot.
If Cher brought the pageantry, openers Nile Rodgers & Chic delivered the funk. Exuding timeless urban cool in a beret, vibrant purple/pink slacks and sparkling black jacket, the legendary producer/singer/guitarist led his sharp band on a mini-tour of R&B, soul and disco heritage. Few warm-up acts manage to get an arena audience on its feet. Rodgers and company had people dancing in the aisles. “Good Times,” indeed.
Cher’s costumes will be on display at the Met
By Melissa Minton
February 4, 2019
Cher, 72, has made it to the Metropolitan Museum of Art.
The singer’s iconic embellished costumes will be part of the museum’s Met Gala exhibit in May, according to fashion designer and long-time collaborator, Bob Mackie.
In a new interview with Fashionista, Mackie revealed that he keeps the archives of the remaining original Cher costumes and lent a few for the upcoming “Camp: Notes on Fashion” exhibit.
Following last year’s “Heavenly Bodies: Fashion and the Catholic Imagination” exhibit, this year’s focus on camp was announced in October and will be hosted by Lady Gaga, Harry Styles and Serena Williams. The theme is a play on Susan Sontag’s 1964 essay “Notes on ‘Camp’,” which catapulted the term — referring to a combination of high art and pop culture — into the mainstream.
Mackie has kept meticulous records of his original embroidery and dress patterns for the iconic looks, from the pieces he designed for “The Sonny & Cher Comedy Hour” to the over-the-top outfits Cher sported in real life, including the memorable beaded gown and headdress she wore to the 1986 Oscars.
There are no additional details about which pieces, if any, will make the final curation on the first Monday in May, but it is rare that the public gets a hint of what to expect before the big reveal.
Besides being the record-keeper for Cher’s past costumes, Mackie also served as the costume designer for “The Cher Show” on Broadway.
He used the exact patterns of the vintage pieces to create “outrageously expensive” new clothing for the stage and even had the unique pleasure of dressing a fictionalized version of himself.
Though the costumes Mackie designed for a young version of himself are a bit more flamboyant than what he wears in real life, the show does use a quote straight out of his mouth.
“They used one of my lines that I said about seeing an ‘underboob,'” he told Fashionista. “I said, ‘If you stood her on her head, it would just be cleavage!’ and they just took that right out of an interview of mine. I would have been annoyed if they hadn’t used some of my stuff.”
It remains to be seen if Cher will attend the Anna Wintour-led Met Gala. She most recently attended in 2015 for the “China: Through the Looking Glass” exhibit. If the singer does show up, it would be unsurprising to see Mackie on her arm.