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Cirque du Soleil’s Beatles-Themed Las Vegas Show Will End after 18-Year Run

A file photo of Beatles member John Lennon is projected on the screen during the preview of "Love", a new Beatles-themed Cirque du Soleil show in Las Vegas, Jun 27, 2006. (AP)
A file photo of Beatles member John Lennon is projected on the screen during the preview of "Love", a new Beatles-themed Cirque du Soleil show in Las Vegas, Jun 27, 2006. (AP)
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Cirque du Soleil’s Beatles-Themed Las Vegas Show Will End after 18-Year Run

A file photo of Beatles member John Lennon is projected on the screen during the preview of "Love", a new Beatles-themed Cirque du Soleil show in Las Vegas, Jun 27, 2006. (AP)
A file photo of Beatles member John Lennon is projected on the screen during the preview of "Love", a new Beatles-themed Cirque du Soleil show in Las Vegas, Jun 27, 2006. (AP)

The final curtain will come down this summer on Cirque du Soleil's long-running show "The Beatles Love," a cultural icon on the Las Vegas Strip that brought band members Paul McCartney and Ringo Starr back together for public appearances throughout its 18-year run.

Cirque announced on Tuesday that the show housed at the Mirage will end on July 7, part of the iconic hotel-casino's major renovation plan to rebrand itself into the Hard Rock Las Vegas.

Stéphane Lefebvre, CEO of the Cirque du Soleil Entertainment Group, said in a statement that more than 11.5 million people have seen the show — an energetic portrayal of the Fab Four's history and music with aerial stunts and whimsical dance numbers on a colorful, 360-degree stage.

"We are grateful to the creators, cast, crew and all involved in bringing this show to life," Lefebvre said, "and we know The Beatles LOVE will live on long after the final bow."

In a separate statement, Joe Lupo, president of the Mirage, thanked the Cirque performers and crew members working behind the scenes "who played a part in entertaining guests and bridged generations" for nearly two decades.

The production premiered in the summer of 2006, with red carpet appearances by both McCartney and Starr, as well as Yoko Ono and Olivia Harrison, wife of the late Beatle George Harrison. They reunited a year later to celebrate the show's first anniversary.

According to Cirque, the show was born out of the friendship between its founder Guy Laliberté and Harrison, the Beatles' lead guitarist who died in 2001. John Lennon was killed in 1980.

The show is set to a specialized soundtrack that earned Cirque two Grammy Awards in 2008, a first for the entertainment company. Cirque said the Beatles’ original producer, George Martin, and his son produced and mixed the 26-song soundscape, pulling from 130 songs from the Beatles’ powerhouse music catalog and archives.

The current cast includes 11 original members from the show's inception, according to Cirque. More than 11,000 costume pieces are worn on show night, including 250 pairs of shoes and 225 wigs. Audiences throughout the show’s run, Cirque said, have been showered with 13.5 tons of confetti during the final act, which closes with the Beatles' 1967 hit "All You Need is Love."

"Beatles Love" is one of six Cirque productions on the Las Vegas Strip. Tickets for the final shows in July will go on sale in the coming weeks.

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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.