‘Rockstar: The Tribute’

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Sometimes, the problem with a good idea is that it’s so good, everyone else has it, too. Then it’s all about who can make it work.

In the case of "Rockstar: The Tribute," there isn’t any lighter-flicker in the entire rock-o-sphere who would argue with the notion of a head-banging "Legends in Concert" — except for maybe the producers of "Legends." It’s not even new for people to impersonate Aerosmith or Queen; locals casinos have hosted that stuff for years.

Still, harder-rock tributes are usually stand-alone attractions. The twist here is to adopt the whole "Legends" variety format– with four such tributes in one show — and to turn it up loud.

That’s not to say "Legends" couldn’t have a Rod Stewart or Freddie Mercury. (Surely it must have at some point?) Nor to say the versatile "Legends" band couldn’t back them. But this is ribcage-rattling, double-bass drum r-a-w-k that makes the long running Harrah’s Las Vegas show seem awfully polite by comparison.

Still, "Rockstar" has been slow to take hold, for reasons that don’t have much to do with what you see onstage. The show struggled for several months last year in a Harmon Theatre "hidden" by outside construction. It moved to the Riviera, where a falling out among producers, investors and landlord sent "Rockstar" back to the Harmon.

The Riviera is now set to host a rival production, "Masters of Rock," set to open Feb. 12. It’s produced by Steve Rossi (not the veteran comedian of Allen & Rossi), who says he liked the idea but not the producer, Paul Christen, who didn’t pay back cash loans.

All that aside, "Rockstar" should satisfy anyone who manages to find it. The lineup will rotate, but the one I saw didn’t have a weak link. Sure, you might watch Carrie Stacy as Joan Jett and struggle, as I did, to remember details of the real Jett-meister.

Stacy reminded me more of Chrissie Hynde. But she had the tough ‘tude, the painted-on leather pants and the singalong ’80s anthems, and that was enough for 15 minutes.

The other three tributes salute more enduring characters. Jay Basinger opens as Steven Tyler, introducing a trio that includes bassist Tony Montana, once of Great White (the band will expand to four pieces soon). Basinger struts his purple pants through essential Aerosmith, from "Same Old Song and Dance" to a cowbell-climactic "Walk This Way."

Martin Andrew’s Stewart was the best look-alike and sound-alike, drawing shrieks from three women in the sparse crowd when he burst out in his animal-print jacket. The rock trio with piped-in keyboards didn’t work so well for the Disco Rod, but added extra fire to "Hot Legs" and "Maggie May."

As Mercury, Gregory Finsley had the best voice and most artfully crafted showcase. He covered nine Queen hits in 15 minutes, thanks to a super-medley framed by the beginning and ending of "Bohemian Rhapsody," which he played on electric piano.

It’s all good fun, and a good fit with the Harmon’s club environment. Bring on the "Masters of Rock"! May the best impersonators win! And, uhm, the best cash flow, rent structure, marketing plan …

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