A Restaurant Review: AquaKnox at the Venetian in Las Vegas

Aquaknox Tower Dining Room

Aquaknox Dining Room

What would a Vegas casino be without an opportunity to win a small fortune and immediately spend it on a single meal?

While the Venetian Resort Casino on Las Vegas’ fabled Strip has a number of marquee names in its stable of restaurants (Batali, Bastianich, Lagasse), you would be hard pressed to beat the cuisine at AquaKnox, just a few steps from the casino floor along the Venetian’s Restaurant Row. The chef, Steve Aguglia, is not a star, at least not yet, but he is turning out some astonishingly good meals.

AquaKnox, as the name suggests, is known for its seafood. Starting a meal off with the AquaKnox Plateau

Aquaknox Sauteed John Dory

AquaKnox Sauteed John Dory

($79 for two) is an excellent introduction to their quality standards. It’s hard to believe that in the middle of the searing Nevada desert you could find fresh oysters, mussels, shrimp ceviche, lobster, and king crab like this. A highlight of this indulgence are the Ponzu oyster shooters, sheer heaven.

Aquaknox scallops

AquaKnox scallops

Other seafood we sampled included New Bedford Scallops ($42) on a bed of creamed corn and polenta garnished with crispy chicharron and Wild Alaskan Halibut, ethereally light over a shrimp, corn, and edamame succotash.

Seafood graces the appetizer selection as well with the Ahi Tuna Tartare ($18), flecked with Asian pear and spiced with Korean hot bean paste, a standout. But don’t overlook the Desert Bloom Squash Blossoms ($18), sourced from a local organic farm that apparently creates miracles in the desert sands.

Don’t care for seafood? Fear not. AquaKnox has some of the best beef I have ever tasted. I sampled them all — New York Strip ($49), Ribeye ($59), and the superb, buttery Filet Mignon ($54). Other non-fish dishes, which alas we didn’t have the opportunity to sample, include Tandoori Spiced Free Range Chicken ($30) and a vegetable Ratatouille with a black rice risotto ($26)

You will be pleased to know that portions are not overwhelming, which leaves you no excuse to skip dessert

Aquaknox dessert!

AquaKnox dessert!

($12 to $13). There’s a very nice take on Banana Cream Pie but the star of the show, for my money, is the Butterscotch Bread Pudding, a seemingly humble dessert raised here to sublime heights.

If you really want to pull out all the stops, call ahead to arrange a “Tour of the Menu,” a four- or five-course tasting menu with optional wine pairings. The staff will discuss your dietary dos and don’ts and will put on a smashing show. Expect to pay up to $200 per person with pairings for this very special experience.

Aquaknox Wine Tower

AquaKnox Wine Tower

Wines by the glass range from $10 to $23, and the selection is excellent. Their Tavistock Pinot Noir, available nowhere else, is a personal favorite and pairs beautifully with the steaks. Choose a bottle and the prices quickly become stratospheric.

The wide-open entrance and the hip bar at the front only hint at the quiet elegance to be found in the restaurant’s interior. The seating is plush, the tables widely spaced, and the noise level blissfully muted. For extra calm request one of their discreet semi-circular booths.

The servers are extremely knowledgeable about the menu and you can trust their suggestions for wine pairings with your entrée. The service is friendly and familiar without being overbearing or intrusive.

AquaKnox will be a special occasion sort of place for most of us, but if you are a high roller you could do a lot worse than make it your dining headquarters during your Vegas stay.

AquaKnox, Global Water Cuisine
At the Venetian Resort Casino
(702) 414-3772

http://www.aquaknox.net

Photos courtesy of Tavistock Group.

A Review: Psst! Feelthy Acrobats — Absinthe in Las Vegas

Absinthe at Caesar's Palace in Las Vegas

Absinthe at Caesar’s Palace in Las Vegas

LAS VEGAS, NV – Everyone loves acrobats but not everyone will have a tolerance for the non-stop, filthy, vile, obscene, and often very funny patter that accompanies them in this sui generis offering on the Vegas Strip.

Absinthe is housed in what looks like a temporary storage shed in a courtyard at Caesar’s Palace. The interior looks every bit as ephemeral, with simple folding chairs packed around a stage (and I use the term loosely) that looks to be about the size of the average kitchen table.

In this postage stamp space, Absinthe showcases acrobatic acts from around the world and some of them are doozies. Acts change from time to time, but among recent acts four Russian guys, a speed skating duo from Germany, and two Amazonian aerialists from the Netherlands were especially gasp-worthy.

Check out this video clip:

The spectacle is intensified by your proximity to the action and the fact that these artistes work without nets or safety wires. If they fall, they fall on you.

Adding a bit of spice is a strip teasing chantoozie, the delightfully de-lovely Melody Sweets. But what has made Absinthe a Vegas sensation, I think, is its arch framing device.

The show is ostensibly being produced and emceed by ”The Gazillionaire,” a snaggle-toothed, brilliantined sleazeball played with great relish by Voki Kalfayan, a former Cirque du Soleil clown. His opening line is “If you are offended by words like f**k and s**t, you’re at the wrong f**king show.” Don’t say you weren’t warned.

What follows is a constant stream of vulgarity and sexual innuendo as The Gazillionaire seems to bend over backwards to offend everyone in the audience. And it works. The night I caught the show an older couple (she never cracked a smile) were driven out, an event that The Gazillionaire took as a personal triumph.

Assisting the emcee is one Penny Pibbets (Anais Thomassian) who vies with the host in the vulgarity sweepstakes. At one point, she performs a crazed sock puppet routine that is breathtaking in its obscenity.

The saving grace in all this is that the repartee is often hilarious and most folks in the audience get with the program and thoroughly enjoy themselves. As did I.

By the way, the title is apparently derived from the absinthe-drinking acrobat whose chair balancing act opens the show.

Absinthe at Caesar’s Palace
Flamingo Road and Las Vegas Boulevard
Las Vegas
(800) 745-3000
Tickets run from $99 to $134 plus tax and are available here.

 

A Review: ‘Love,’ Cirque du Soleil’s Beatles Show at the Mirage, Las Vegas

Lucy in the Sky with Diamonds from The Beatles LOVE, Cirque du Soleil

Lucy in the Sky with Diamonds from The Beatles LOVE, Cirque du Soleil

LAS VEGAS, NV – I entered with high expectations but, alas, I found myself merely in like with Love.

Cirque du Soleil’s high-powered homage to the Fab Four is chock full of Cirque’s trademark glitz and over-the-top surreal creativity but oddly lacking in the circus style acts that make most Cirque shows such crowd pleasers. It’s a lot of Soleil with little Cirque.

What we get instead can best be labeled interpretive dance. Unfortunately, while it is performed with Cirque’s customary excellence, the choreography has an unfortunate tendency to lapse into the overwrought and pretentious.

Here’s a Youtube preview:

The creators have peopled the ingenious and hyperactive set at the Mirage Resort and Casino with the usual array of post-modern oddities, many of whom seem to bear little relation to the Beatles canon. Yes, there is a briefly glimpsed Father McKenzie, but what’s with the little fat guy, or the tall bald guy in the white frock coat, or the muscular dude in the Michelin-Man rubber pants?

Like the intense intellectual artistes one imagines the Cirque creative team to be, they have placed heavy emphasis on the darker and more “poetic” pieces in the Beatles’ songbook. I, for one, would have liked to have seen and heard more of their earlier, bouncier, subtextless songs. The later, more surreal songs gain little from having their bizarre imagery translated into concrete form.

On the other hand, this approach gave the costume designers an opportunity to showcase their considerable skills. I thought at more than one point that they had more fun creating the show than I was having watching it.

The result is a musical mish-mosh that jumps backwards and forwards in time accompanied by a swirling blur of seemingly unrelated characters and imagery. More than once I was reminded of Shakespeare’s line about sound and fury signifying nothing – although to give the artists their due, I am sure a great deal of effort went into imagining every little thing that goes on during the show.

Still, the show has its moments. There is a bewitching dance featuring a lone male dancer and four white-clad women swirling about him on wires. The best numbers were the most circus-like, including an act featuring four furry-booted roller skaters and two half pipes, and a trampoline free for all reminiscent of a similar bit in La Nouba in Orlando.

Fortunately, the show closes on a high note with energetic renditions of Hey, Jude and All You Need Is Love. Which reminds me, did I mention the music? There’s lots of it, projected on a sound system to die for, and it was all written by perhaps the most talented pop group of the twentieth century. If the production fails to captivate you, you can always just close your eyes and let that magnificent music wash over you.

Tip: Those who didn’t damage their hearing during the Beatles’ heyday will be well advised to bring earplugs.

Cirque du Soleil – The Beatles LOVE
The Mirage Hotel & Casino
3400 Las Vegas Boulevard S
Las Vegas
(866) 963-9634
Tickets for the show range from $86.90 to $198. Click here for details.

Cirque du Soleil’s ‘Ka’ at MGM Grand in Las Vegas – A Review

Ka, Cirque du Soleil’s astonishing show at the MGM Grand would be worth seeing simply because it is probably the most elaborate and spectacular theatrical presentation to be mounted since the ancient Romans flooded the Coliseum to stage naval battles. But Ka is much more than a series of amazing technological feats (and the show’s $165 million budget bought a lot of that), making it the must-see Cirque show in Vegas.

Unlike most Cirque shows, which wrap more or less traditional circus acts in a dazzling theatrical package sprinkled with intriguingly offbeat post-modernist touches that hint at deep metaphysical significance, Ka actually tells a simple but timeless story with a beginning, a middle, and an end. The circus acts are there, of course, but they have been very cleverly put at the service of the tale being told.

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