Revamping ‘Le Reve’

Monday, May 14, 2007 | 7:06 a.m.

Who: "Le Reve"

When: 7 and 9:30 p.m., Sundays, Mondays and Thursdays; 8:30 p.m., Fridays; 8 and 10:30 p.m., Saturdays

Where: Wynn Las Vegas

Tickets: $99 to $159; 770-9966

Think you've seen some dramatic changes in the controversial "Le Reve" since it opened to mixed reviews two years ago? You ain't seen nothin' yet.

Franco Dragone's water-based show closed for a month to make $10 million in changes, including wider seats, new carpets, a better sound system and a layout that removes almost a quarter of the 2,100 seats to add a VIP section with TV monitors showing underwater action in the million-gallon tank. They also added the hardware for an advanced lighting system, which will be completed during another break in July.

But the biggest change may be a new script due sometime in 2008.

Dragone and resort owner Steve Wynn, who reportedly had a falling out over the costly "Le Reve" production ($75 million for the theater; $35 million for the show), are working together on the revised script.

"It will enhance the story line," said Brian Burke, artistic director for "Le Reve" and another Dragone creation, Celine Dion's "A New Day." "It will be a stronger story in terms of the dream and in terms of understanding the characters."

Many complained about the vagueness of Dragone's cerebral approach to "Le Reve: A Small Collection of Imperfect Dreams."

The action was breathtaking and a feast for the eyes - fire on water, divers plunging more than 70 feet. But many didn't understand the story - a dark adventure with pregnant women dropping from the sky into the water, nets full of bodies, monsters of all sorts.

Even without major script changes, the production is more clearly focused.

Initially the story line was about a young man falling asleep and walking through a watery world of dreams. Now it is a young woman, who has come home from a date, falls in bed and begins to dream.

It's been cut from 90 to 75 minutes. The pregnant divers are gone, as are the nets of bodies and a mime scene involving the show's clowns.

"There are less clown acts in the show," Burke said. "Before, the flow of the story was choppy in terms of the acrobatic acts and then the clown acts."

It was shortened to tighten a lull about an hour into the show.

"We were trying to find ways to really keep the show moving in terms of the momentum once we got through the arc of the show," Burke said.

The upshot: More movement in a show that already was one of the busiest in town.

Even the title has been tweaked. Now, it's simply "Le Reve, The Show at Wynn" - not catchy, but concise.

The new script may require new costumes, new music and a rearrangement of scenes - although the action should not change greatly.

"There will be some new technical elements, which I won't tell you about because they're a surprise," Burke said during a recent tour of the theater and backstage.

But he was happy to talk about the new lighting, which includes pods of lights that can fly with performers.

"This lighting can create a ceiling where there is no ceiling, a ceiling of light," Burke said. "This lighting can actually come out and fan out and create a wall of light between the audience and the show."

It is being designed by Jules Fisher and Peggy Eisenhauer of Third Eye Ltd. Fisher is a Broadway veteran who's won eight Tonys, including for "Pippin," "Grand Hotel," "Jelly's Last Jam" and "Assassins." He's also worked in TV, concerts and films, including "DreamGirls" and "Chicago."

Despite the reported rift between Wynn and Dragone, Burke says they are working closely on the new script.

Dragone also is busy producing a revamped "Carmen," which opens next month at the La Jolla Playhouse.

"But Dragone is back working on this show as director, with a different creative team," Burke said. "We run everything through Steve and Franco together and they make decisions together and then we incorporate them."

"Le Reve" may never cease changing.

"We're always trying to evolve," Burke said. "It's kind of nice we are all working together to evolve the show and to make it better - it's great for the public, who comes back to see the show again and again, and it's really great for the performers, because it keeps them interested in the show."