Saxe Solo

Friday, Nov. 8, 2002 | 4:19 a.m.

WEEKEND EDITION: Nov. 10, 2002

Thirty-three year-old David Saxe, brother of Melinda (First Lady of Magic), was born into show business.

The son of dancer-choreographer Bonnie Saxe and band leader Dick Saxe produces "Showgirls of Magic" at the San Remo and is putting together a traveling version of the production that will go to Japan.

Saxe recently opened "V" at Showroom at The Venetian, which reportedly is breaking ticket-sales records at the troubled venue, and he is working on a new show, "Whoops." His latest production will feature comedian Pat Morita in a "Saturday Night Live"-type show for the over-40 crowd.

The youthful impresario recently talked to the Las Vegas Sun about his unusual life.

Las Vegas Sun: How did you get your start in show business?

David Saxe: Mom was a dancer with "Follies Bergere" at the Tropicana and Dad was a bandleader. He used to put together entertainment for hotels and conventions. I was born in Las Vegas in 1969 and grew up here.

I actually started working when I was 5. My dad would let me help set up the band for his shows.

Sun: How did you become involved with Melinda's career in magic?

DS: I have two sisters, Suzanne and Melinda. Both were dancers when I was in my teens. They would dance for conventions and I would put together the technical side of the show.

Melinda was dancing in the "Siegfried & Roy" show in 1986. She wanted to meet Lance Burton, who used to go to magic meetings at the Bourbon Street Hotel. Magicians used to get together there. She thought she could meet Lance at the meeting so she and Mom went and while they were there they came up with this idea of putting together a show that combined dancing with magic. Our family pitched the idea to the entertainment director at Bourbon Street and he bought it. Dad put together the music.

Sun: What was your role in the production?

DS: I was still in high school, but every night I ran two shows a night at the Bourbon Street. I was the maitre d'. I ran the lights and sounds and I played drums in the band. I also ran the curtains by remote control.

We were at Bourbon Street for a year, then we went to the Landmark. I believe I am the youngest producer in Las Vegas history. I started coproducing Melinda with mother when I was 16, after my parents divorced in '85.

Sun: Were you involved in shows other than Melinda's?

DS: When I was 20 years old I produced two shows, "Girl's Night Out," which was a male strip show, and "Ecstasy,' a topless show. Both were at the El Rancho. I was still working with Melinda down the street at the Sahara. I was 20 and I had my name on marquees at the Sahara and El Rancho at the same time.

Sun: Did you ever want to be anything but a producer?

DS: I graduated form UNLV as a communications major. I thought about attending law school. I actually had an attorney working for me when I was in college. At the time I was producing the male strip show and the attorney went with me to see it. There were 300 screaming women in the audience. He asked me why I wanted to go to law school.

Sun: How long did the shows at El Rancho last?

DS: Only about six months, and then the El Rancho closed. After that, Melinda and I and the family went to different hotels. We ended up at the Lady Luck and then my mother and sister had a falling out and parted ways. I started producing Melinda's show by myself in 1995 and mother started producing "Showgirls of Magic" at the San Remo. I bought that show from her two years ago.

Sun: When you took over Melinda's show, where did you go?

DS: Melinda and I went on a 60-city tour. We ended up in Branson (Mo.) in 1998 and stayed there about a year before we decided we were homesick.

We returned in '99, with nothing booked. The town had changed. People had forgotten about us. There were all new people in offices at all the hotels. We tried to get Melinda a gig here in town, but it was a tough sale.

Sun: What made Melinda so successful at The Venetian when so many others have failed?

DS: Melinda is very marketable. The content of the show is fun and uplifting. Plus, I did a lot of advertising, and some guerrilla marketing -- giving ticket brokers heavy commissions.

Sun: Some people blame you for the high cost of tickets in town. When did you start giving commissions?

DS: At the Landmark in 1988 we paid like a $5 commission on tickets. At that time the highest paid was $3. We started packing the room, which made a lot of people angry, but they started matching the commission we were paying. So we went up to $7. Now they're up to $30 or more.

Sun: Are the commissions good or bad?

DS: It's good for the shows that have no hotel support. But it's bad for the industry as a whole. I think it's going to change.

Sun: After Melinda left The Venetian a couple of months ago you brought in a variety show that seems to be selling out a lot of performances. How did you come up with acts? Are there going to be a lot of copycats?

DS: I really think there will be a big wave of variety shows. This town is not content unless it has 20 of the same shows, whether it's magic, impersonators, Cirque or variety.