Two Strip impresarios search for the next chapter

That part seems to have spilled into the common usage, though. And it definitely applies to Ross Mollison and Sirc Michaels. Both promoters seem only half a step away from being performers themselves, and their fresh thinking expanded entertainment possibilities on the Strip — even if they otherwise don’t compare when it comes to their impact or success.

Mollison is the Australian producer of “Absinthe,” a surprise hit that’s been influential but apparently hard to follow. Michaels was chief cook and bottle washer for “Evil Dead: The Musical,” a scrappy little underdog of a show he worked tirelessly and creatively to promote, until last week’s surprise announcement he was leaving the title, which will continue without him at the Tommy Wind Theater.

Mollison’s Spiegelworld last week used the “Absinthe” structure in front of Caesars Palace to test and shop the less-elaborate but equally risque “Never Sleep Alone.” The interactive comedy has been in New York for more than four years, with Roslyn Hart as a Dr. Ruth-type sex therapist recruiting audience members for comically graphic demonstrations.

“It’s surprising the way people behave when they’re out having fun, and that makes it really great entertainment,” Mollison says of the show.

“The improvisational feeling of the whole thing makes it really exciting. Just silly fun,” he says of the title that he invited casino decision-makers to view and consider.

“Absinthe” celebrates its fifth anniversary in April, and Mollison says the show is doing so well they are looking at ways to add about 50 seats to the current 550 capacity without harming the unique environment, a big part of the show’s appeal.

Mollison followed “Absinthe” with “Vegas Nocturne” inside Rose.Rabbit.Lie at The Cosmopolitan. But that one imploded with the hotel’s ownership change and generated accusations and litigation from both sides.

Despite that setback, “I spend a lot of time working on ideas for Vegas. I think there are a lot of great opportunities there,” he says.

And immersive, interactive entertainment is “certainly a direction I think Vegas entertainment is going to go,” he adds. “But it’s hard. It’s not like we’re looking at a model of something that works in New York or Berlin or Ibiza. We’ve got to create something that’s for Vegas.”

Unlike, say, New York’s creepy interactive hit “Sleep No More,” he believes a Las Vegas show has to be funny. And short.

Patrons claim they don’t want to spend the whole evening doing just one thing, even if his Rose.Rabbit.Lie experience proved otherwise. “They wouldn’t commit the time, but they’d give it when they got there,” he says. “I’d beg (people), ‘Just come and see the show; it’s 75 minutes.’ And then three hours later you’d find them in the (bar area), still having a drink.”

Mollison says casino attitudes about his shows have changed during the past five years. The average visitor age has dropped “so dramatically, the casino presidents are a lot more interested in product that does appeal to a younger demographic.”

That younger demo does show up for the campy “Evil Dead” musical, and a lot of them found the show through social media or unconventional promotion, such as the cast performing at comic-book conventions.

On Thursday, Michaels announced he was “stepping away” from the production he has helmed since late 2011. “Evil” is now in the hands of its landlords, magician Tommy Wind (Riccardo offstage) and his father.

“We offered to buy him out. We saw the capabilities of the show,” Wind says. “We now have all the shows (which share the theater). We wanted to acquire the shows so we have total control over ticket sales.”

Those close to the production say Michaels’ departure was hastened along by the show’s major investor. And it should be said the transaction is actually a hand-off of the local production and its sets and costumes, as neither Michaels nor Wind own the rights for the Canadian musical that played off-Broadway.

But Michaels said he welcomes the chance to spend more time with his 1-year-old. “I kept trying to bring people in who could manage the day-to-day, so I could focus either on other projects or my family or writing. There are other things I want to do.”

“If the venue owns the show, there’s more that they can do with it,” he adds. “The show itself, while it’s not mine, I feel like I’m the father and now it’s a teenager.” Wind is “going to have the benefit of what I’ve already set up. I’ve given them everything they need to be successful.” …

Adam Steck is more of the low-key type of impresario, but neither he nor I could think of another Las Vegas-born title that went to Broadway instead of the other way around. But that’s what happened when Spike Lee directed a limited run of “Mike Tyson: The Undisputed Truth” in 2012.

Now Steck and Tyson are bringing the one-man show back to town, to run Thursdays through Sundays on select weeks from March 3 through June 26 in the Brad Garrett Comedy Club at the MGM Grand.

“You’re going to get the champ right in your face,” Steck says of the 250-seat venue. “He absolutely loves that stage and can’t wait to get back on it.”

Steck also has a reboot of the Australian vocal group Human Nature coming March 29 in their Sands Showroom at The Venetian. The big change is losing the branded association with the Motown label and Smokey Robinson, who was billed as the presenter of the previous show.

The new format is less restrictive, “the jukebox of their life and what songs inspired them,” Steck says of the more demographically diverse format. The quartet felt the Motown show had run its course and “the casino definitely wanted something different too. It was like ‘We don’t want to leave The Venetian so let’s give them something different.'”

The relaunch of Human Nature will delay the naughty puppet improv show “Puppet Up!” until June, instead of its an announced spring opening.

— Read more from Mike Weatherford at reviewjournal.com. Contact him at meweatherford@reviewjournal.com and follow @Mikeweatherford on Twitter.