The carving station comes back with marinated flank steak, rotisserie chicken, and St. -style ribs. He changes direction. We sit back attentively wondering what’s going to happen next. If a show stops short, looks rehearsed or simply calculated, it’s not going to work its essential magic. Working from a play text that he wrote with oomph, style, passion and cheery references to the actual “Wizard of Oz” 1939 film, cleverly mixed with new information about what happened when Dorothy finally found herself back in Kansas, Bernardi brings a ripened exactness and harmonious resonance to the work that allows it to sparkle, dazzle, breathe, settle and take shape. Staging and directing “The Wicked Witch of the West: Kansas or Bust,” Bert Bernardi brings the “Oz” story thrillingly to life using just the right amount of confidence, imagination, crystal ball magic, chutzpah, amusement and good, old-fashioned, rainbow-tinged charm. There’s a quaint romanticism and timeless relevance that each musician brings to the proceedings, matched by flawless accompaniment of a traditional musical score that heightens and enriches the paradoxical plot, its cheeky flights of whimsy and the score’s rapidly changing rhythms, beats, pulses and varying composer/lyricist orchestral stylizations. At Ivoryton, the Tom Jones/Harvey Schmidt musical score is lovingly brought to life by musical director Jill Brunelle (at the piano) and Sena Hornby (at the harp).

Creators Tom Jones (lyrics) and Harvey Schmidt (music) have done just that with “The Fantasticks.” is a musical treat for both actor and audience not only because every song is a gem in itself, but because the songs themselves are ideally matched to the characters who sing them, who bring them to life and use every one of them to entice and cajole the audience while the musical excitedly inches forward to its justified, bittersweet ending. The unabashed charm of the 1960 off-Broadway musical “The Fantasticks” is happily replicated in Ivoryton Playhouse’s fanciful revival, which, way back when, was originally created by lyricist/librettist Tom Jones and composer Harvey Schmidt using featherweight storytelling, minimalist stagecraft, low-budget set pieces and costuming, pop hits and ballads, illusions and metaphors and lastly, a very happy ending. Most often, the musical itself is played against a bleak, black background of sparse set pieces and props with little or next to no color at all. The musical score for “The Wicked Witch of the West: Kansas or Bust” has been written by Bert Bernardi (lyrics) and Justin Rugg (music) whose collaborative efforts at Pantochino Productions include “Glitz! The Little Miss Christmas Musical” ” and “The Waffle House Five.” It contains 11 musical numbers. They are “Kansas,” “Dorothy’s Lament,” “The Wicked Witch of the West,” “Who Needs a Yellow Brick Road?

Elsewhere, he transforms the Mute into a leading player (in other productions, the character is mainly a prop piece or afterthought that has no little or no connection to the story). Here, the character is a bespectacled nerd with plenty of drive and chutzpuh. Here, Feehan opts for grand, MGM Technicolor with a clever dash of Federico Fellini (“Juliet of the Spirits,” “Fellini’s Roma” and “8 1/2” spring to mind), offset by colorful circus/carnival imagery, bacchanal undercurrents and nicely balanced cheekiness. Well done, Mr. Feehan. It’s a concept that is so ingenious and refreshing, you can’t help but applaud Feehan for this unique, slight reshaping of the musical. An obvious lover of musical theatre, director/choreographer Brian Feehan is the perfect fit for this 2018 incarnation of “The Fantasticks.” He not only crafts an utterly delightful and enveloping musical that honors and respects the origins of the material, but also its allegorical inventiveness, its hypnotic allure, its sexual excitement, its story-dictated fabrications and the surprise concept of turning something very innocent into something passionate, illicit and dangerous, if only fleetingly. An easy stroll across the Strip from Caesars Palace, The LINQ is the latest concept in shopping, dining and entertainment.

Other suites (1,020-3,001 sq ft) are designed with plenty of space in mind and artwork on the walls, contemporary furniture, indulgent Italian marble bathrooms, and separate dining areas. Anthology Suites And Villas At Caesars Palace Las Vegas is a 5-star property situated 0.4 miles to The Strip. The newest renovation at Caesars Palace is the conversion of the Centurion tower into Nobu Hotel which opened in 2013. The Nobu Hotel is built from a partnership with Sushi chef Nobu Matsuhisa, his business partner Robert DeNiro and Caesars Palace. It has a marvelous sense of sequel enlightenment to it that Bernardi shapes and molds with such cleverness and excitement, it’s impossible not to be swept up in the magic of it all. At the same time, Bernardi is not one to rest on his laurels. The behaviour is the same whether Windows, Linux or other UNIX. Or will the Wicked Witch suffer the same fate she did in “The Wizard of Oz” and melt again via yet another thrown pail of water? , the Good Witch, be called upon for back up? The most famous one, of course, is the beautiful ballad “Try to Remember,” which first saw life back in 1960 when the musical debuted off-Broadway at the Sullivan Street Playhouse, and has been thrilling audiences ever since.