Female impersonation gets its due in ‘Eyecons’

The one-man, 90-minute "Christopher Peterson’s Eyecons" begins with a standard (but accurate) Marilyn Monroe impression, complete with breathy voice, hungry lips and a sparkling, body-clinging gown. With just a slight adjustment to his spectacular blonde wig, Peterson transforms into the hearty Carol Channing, and his show gets off to a rousing start. It’s clear from that clever opening that this performer knows not just his craft, but how to surprise.

He never lets us down. He puts us in the mood to laugh at his Judy Garland and then throws in a moment of unexpected pathos. When Bette Davis makes her inevitable appearance, she winds up singing "The Time Warp" from "The Rocky Horror Show." And just when Liza Minnelli is getting ready for the big finish to "New York, New York," Garland suddenly appears and says, "Let Mummy take it."

Peterson doesn’t "become" these icons as much as suggests them. He creates their individual stage presences so that we better appreciate what made these stars unique.

And, amazingly, he does all his own singing. He can match Bette Midler’s belt with the same ease of Julie Andrews’ sweet soprano.

His between-song patter is likewise first-rate. ("How many heterosexuals in the house? Oh, I’m sorry. Well, that’s all right. You were born that way.") And his too brief forays into autobiography are moving. I wanted his show to help me better know him.

Best of all, the production feels seamless as it glides from song to comedy to audience chit-chat. Female impersonators are as much a part of Vegas as slot machines, but Peterson’s master showmanship sets him apart. He gives the much-abused genre the respect it deserves.

Anthony Del Valle can be reached at vegastheaterchat @aol.com. You can write him c/o Las Vegas Review-Journal, P.O. Box 70, Las Vegas, NV 89125.