A 1897 novel by the Irish author Bram Stoker serves as the basis for “Bite,” now performing at the Stratosphere Hotel. The fast moving, sexy stage production with rock ‘n roll compositions recounts Dracula’s search for an ideal mate. On the occasion of its five-year anniversary, champagne toasts were offered for its 1,500 performances and nearly half a million entertained guests.
Even though Stoker’s novel about a Transylvanian count was penned over a century ago, interest in vampirism has not waned as evidenced by shows like Twilight, True Blood, and now, Bite.
Despite common themes, previous iterations of the Dracula saga can’t be compared to the Stratosphere production. Bite adds a twist to the vampire story thanks to a combination of highly evolved chorography and artistic elements that include topless dancers.
According to Tim Molyneux, Bite producer and writer, thirteen topless shows in Las Vegas came and went during the five years since his nicely-bosomed and toned performers have been scampering over the Stratosphere stage with their unique combination of dance and gymnastics.
“These girls are not afraid to show you their assets,” says Molyneux of the Erotic Angels of Rock. He gives his girl and boy cast members all the credit when it comes to the show’s success.
In the Bite version of Dracula, there’s no departure from the basic storyline–the Lord Vampire finds the perfect bride to crown his Queen of the Night. Yet, this Lord Vampire is a toned and superbly cut athlete with six-pack abs. He makes his initial appearance while stepping from a coffin as the hypnotic “hoo-hoo” of the Rolling Stones’ “Sympathy for the Devil” rocks the house. “Pleased to meet you, hope you guessed my name,” go the lyrics. Some characters need no introduction.
And therein lies another difference: the soundtrack. Forget the heavy symphony orchestrations of the black and white Dracula movie days. Bite incorporates the driving, high-energy rhythms and Les-Paul-inspired guitar plucking of American classic rock. It’s these classics that help underscore the drama and give it electric life.
As an example, when the Erotic Angels of Rock first take the stage, one hears the frenzied cadence of “Welcome to the Jungle” and the high-pitched screams of Axel Rose. Hall & Oates proclaim the “Maneater” as the Angels immodestly shimmy across the stage. Van Morrison’s “Moondance” is performed under black light with exceptionally alluring effects. Pink Floyd’s “Comfortably Numb” highlight the post-bite climax. Some of the music is recorded; other selections are sung live. There’s even a snippet of Italian opera.
Acrobatics maintain audience engagement. Maneuvers akin to circus trapeze work using twin silk straps (they look like dangling bed sheets) suspended from the ceiling is simultaneously artistic and athletic. In another scene, six of the Angels crawl out from inside a baby grand piano, showcasing their work as contortionists. A martial arts battle ensues with nunchucks. Audience volunteers are hand-picked by the Angels for suggestive interplay.
Bite is an erotic, rock ‘n roll burlesque revue that puts a new spin on an old story, like what West Side Story did for Romeo and Juliet. Given its 1,500 performances, the new take appears headed for longevity even it its development was brief.
“From the time that we signed a contract to the time that we opened our doors it took thirty days. From a piece of paper concept to opening night,” notes Molyneux, who was on hand to lift his glass and offer his thoughts to a full house.
Congratulations to Tim Molyneux and his cast for reaching an important milestone.