‘Performing As …’ is faux legendary acts

Friday, Nov. 19, 2004 | 8:40 a.m.

It's a quirky concept that manages to succeed to a degree in spite of or maybe because of its quirkiness.

"Performing As ... Live" features a faux-Barbra Streisand and a faux-Frank Sinatra performing together in a faux-elegant cabaret-style theater at the Tuscany.

Michael Zanuck, an agent and the co-producer of the show (along with actress Katherine Kane), bought the rights from the producers of the Fox show "Performing As ..." and converted it to the stage.

The TV show was competition among tribute artists. Winners looked and sounded most like the person they were imitating.

Sharon Owens (who has performed at various Vegas venues) is a dead ringer for a young Streisand, both in looks and in voice. She placed third in the finals on the television series.

Sebastian Anzaldo is not such a ringer for Sinatra, although his vocals are pretty close, and what he lacks in physical similarity he makes up for in immersing himself in the character. He has performed in Vegas for years.

Anzaldo has the Sinatra swagger, Owens the Streisand whine.

It is unlikely that the two superstars ever would have performed together on the same stage in reality.

But this is make-believe, and when you're dealing with fantasy, anything is possible.

Sinatra and Streisand? Why not Sinatra and Elvis, or Streisand and Willie Nelson? Sinatra and Puff Daddy? Streisand and Britney Spears?

There isn't much connection between the two, except for their superstardom and the fact that they are (or were, in Sinatra's case) classy performers.

If you are a fan of either or both of the legendary entertainers, you should get a kick out of this show, which is peppered with humor throughout but relies mostly on the vocal talents of its two stars to carry the evening.

Even if you aren't a big fan, the tickets are a bargain -- $38.20 for general admission (which includes a prime rib dinner at Marilyn's Cafe) and $47 (VIP admission and prime rib dinner).

To create the proper setting, a space at the Tuscany was converted into an 80-seat cabaret (110 seats with proper arrangement) that features seating at tables adorned with a single white rose and candlelight.

It used to be a lounge, where dancers boogied until the wee hours of the morning, sometimes to rock 'n' roll, sometimes to salsa, sometimes country -- whatever the genre du jour happened to be.

As a lounge, it wasn't the greatest venue in town. The acoustics were terrible. The music bounced off the bare walls and floor.

But as a cabaret theater, it isn't bad.

Black curtains now encase the room, taking some of the edge off the sound and creating a more comfortable, womb-like feeling. The small stage is framed by white drapes.

Upstage is a grand piano where Rob Hyatt sits and accompanies the two vocalists. The music is enhanced by a soundtrack.

Hyatt is an excellent pianist, and the few notes he sings during the 75-minute performance indicate he's probably a pretty decent singer.

And he's witty.

When Owens/Streisand introduces a song that she is going to do from her film "Yentl," which you can get at video stores, Hyatt grins and notes that it's a "rentl."

It might have been part of the routine, but it came off as spontaneous, which this show could use more of.

Owens and Anzaldo are tribute artists and their show is very structured. They aren't likely to take any song requests. The humor sometimes is forced and weak.

They open the show together, singing a number of songs, including "The Way We Were" (Streisand) and "It Was a Very Good Year" (Sinatra).

After exchanging some banter Anzaldo exits, leaving Owens to do her medley of Streisand tunes, and then she exits and Anzaldo returns for his piece of the limelight.

At the end, both are onstage together for a final number before rushing to the front door to greet their fans and thank them for coming.

Sinatra and Streisand rushing to a line to thank their fans?

Well, after all, the show is pure fantasy.