Vegas Elvis Impersonators And Showgirls

Elvis impersonators and Las Vegas showgirls! Our professional Elvis impersonators and classic Las Vegas showgirls are perfect for any event. We can provide top-notch Vegas entertainers of all kinds, including magicians and impersonators of other icons as well as dancers and models and aerialists and, well, you name it. There is still a huge pool of incredibly talented performers of all kinds in Las Vegas and we know and work with a great many of them.

* Highly recommended, professional, personable, and easy to work with.

* We cater to each client individually and help make every event a memorable one.

* No event is too big or too small. We have professional sound equipment, professionally-made costumes, and a variety of specialty acts and entertainers. If you need something special just ask us.

* Our Elvis impersonators are the best in Las Vegas and have performed in many Las Vegas shows, been part of large concert and media events, appeared in television productions ranging from documentaries to reality shows to television dramas and commercials and music videos, and appeared in theatrical motion pictures. Be

* Our beautiful showgirls are perfect for meet-and-greet photo opportunities, corporate events, grand openings, and private parties. We own elegant showgirl costumes in a rainbow of colors.

*Hire Las Vegas impersonators and more!

Las Vegas Elvis tribute artists
Las Vegas showgirls
The Rat Pack
Frank Sinatra
Dean Martin
Sammy Davis Jr
Marilyn Monroe
Flappers
Cigar/cigarette/candy girls
Magicians
Fortune tellers
Lipstick readers
Strolling tables
Bruno Mars impersonator
Hip-hop dancers
Lady Gaga impersonator
Katy Perry impersonator
Judy Garland impersonator
Liza Minnelli impersonator
James Bond look-alike
Michael Bublé style singer
Big bands
Aerial artists
Specialty acts
Las Vegas models
Showgirl models
Brand ambassadors
Event emcees
DJs
Professional photographers
Photo booths
Make up artists
Body painters
Holiday entertainers
Santa Claus and Mrs Claus
Christmas elves
Holiday gift baskets
Event managers
Event planners
Personal assistants
Personal shoppers
Las Vegas private transportation

We cater to each client's needs and we make sure your Las Vegas event is spectacular!

There are a number of descriptors applied to those who emulate Elvis Presley in one way or another, the more polite and repeatable ranging from the straightforward ‘Elvis Impersonator’ to somewhat more pretentious euphemisms like ‘tribute artist’ or ‘illusionist,’ and so on but, whatever you call it, I am one. My name is Shane Paterson and I am a full-time professional Elvis Impersonator in Las Vegas, who still loves what I do every bit as much as I ever did. I’m first and foremost a serious Elvis fan and will remain one long after I decide to hang up the jumpsuits.

Remaining faithful to Elvis‘ legacy is an imperative for me, especially when it comes to the music. Elvis had a strong streak of self-deprecating and often subversive humor — something to which I strongly relate (Elvis’ tendency toward an absurdist sense of humor makes more sense when you discover that two of his favorite things were Peter Sellers movies and Monty Python) — but, as much fun as this work is and should be for everybody present, there are certain aspects of it about which I’m deadly serious, namely fidelity to the real Elvis in terms of commitment to the performances and as much authenticity as is possible, most definitely with regard to singing.

Elvis will never be matched, but he can certainly be emulated within the constraints inherent to the person paying tribute to him; it turns out that I naturally have a similar vocal range and tone and, regardless, I would not sing these songs as a professional tribute act if I was not able to do them some kind of justice. I’ve seen and heard a lot of incredibly bad Elvis impersonators over the years, in person and otherwise, and I am very conscious that I have a responsibility (shared by other Elvis performers that I know who are going about it the right way) to try to redress that balance a little bit. I don’t have too much of a sense of humor with regard to people in this line of work who are tone deaf or who substitute grunting and slurring for actual singing. More power to them at the karaoke bar or in the shower, where I fully support their right to let loose fearlessly with their tortured vocals and have fun, but if you’re going to present yourself as a professional performer then you should be able to convincingly sing at least some of Elvis’ huge catalogue of songs, even if you don’t sound much like him. Again, I am first and foremost an Elvis fan, and it’s from that perspective that I take umbrage at really bad impersonators who are hiring themselves out as professionals. I wouldn’t be doing this if I wasn’t self-aware enough to know that I can pull it off without veering into that territory.

I have been fascinated with Elvis Presley since my teens, tracking down arcane information on recording sessions and concerts for many years and collecting concert recordings made from audiences here in Las Vegas and on the road in the ‘70s — recorded to audiocassettes and 8mm film — and in the process becoming intimately familiar with the way that Elvis really performed, not the offkilter and exaggerated stereotypes that arose within popular imagination after Elvis’ passing, magnified by decades of bad impersonations. Elvis was not a mushmouthed extra from “Deliverance,”
but one of the greatest vocalists of all time, in addition to his other attributes as a performer and an enduring and still influential cultural force. A tough act to follow to say the least, so I’m content just having fun singing the songs that I love so much and doing my best to suggest the way that Elvis was and to make people happy, that’s a fun and rewarding and inevitably instructive exercise in itself.

Of course, in collecting and becoming so familiar with all of these concert recordings and with bootlegged recording session outtakes and rehearsals I was completely unaware that I was for years essentially rehearsing for this current vocation without even knowing it. That’s because I had no intent or desire to ever become an entertainer, immersion in aspects of ‘The Industry’ in Hollywood (where my in-laws were big players) being enough to definitely dissuade me from ever wanting to be part of that business. I’m an abject lesson in the fact that you never know to where your path will eventually lead. We might think that we do, but we would probably be wrong. Accept that and follow it to even its most absurd conclusion — this might well include dressing up in a bejeweled jumpsuit and singing in Las Vegas — and life gets a lot more interesting, to say the least. Certainly, if somebody had told me years ago that I would end up doing this kind of work I would’ve thought them crazy. Now it seems not only completely normal to me (almost, anyway) but something that, although perhaps falling just short of inevitable, certainly fits me very well.

In my case, the path started in New Zealand, where I grew up within an intensely outdoors-oriented subculture. My interest since childhood in natural history ultimately led me to earn a PhD in ecology. My PhD dissertation focused on the behavioral ecology of barracudas. I later expanded my research program to more conservation-related topics with regard to coral reefs, from the perspective of fishes and still with a decided predator bias. I’m a field scientist at heart and the basis of all of my research was out in the field, often in very remote areas, diving and snorkeling on coral reefs in various parts of the world. Yes, I very much miss diving and the ocean. And, yes, I am keenly aware that for my entire adult life (or for what passes as ‘adult’) my work attire has consisted essentially of a skintight jumpsuit and a heavy belt, whether the jumpsuit be made of neoprene or of gabardine and whether the belt holds lead weights or just feels like it does.

As I mentioned, I grew up within an extremely outdoors-oriented milieu, even by the standards of New Zealand — a fairly outdoors-oriented society — and during my particularly formative years was surrounded by adventurers and explorers from all over the world. I credit early lessons from that group in preparation, overpreparation, and redundant backup systems for literally saving my life on numerous occasions out in the field. The same traits actually come in handy in my current role in Las Vegas, not so much because Las Vegas is a predator-rich environment but because there’s a lot to be said for the value of preparation, overpreparation, and backup plans to backup plans; anybody working in a capacity like mine or putting together an event will probably relate.

There are other traits, of course, that are directly transferable from my academic and research background to what I’m doing now. One key attribute is communication; when it comes down to it, communication is at the center of and key to both central aspects of my professional life. Certainly, facility with research is directly applicable to my current occupation, as well, particularly with regard to the importance that I place on authenticity and investing what I do with as much authenticity as can reasonably be managed.

The study of ecology to a great degree involves recognition of the interconnectedness of everything. You don’t have to look too far to find connections, whether metaphorical or fairly tangible. I once found a bootleg Elvis cassette in a village up a river on an outer island of Papua New Guinea, one of those “Apocalypse Now” rivers through the jungle, complete with saltwater crocodiles and rapids and thatched houses and outriggers, with me sweating away in a wetsuit in the rainforest. I’ve still got it here, somewhere, the garbled and highly creative song titles given on the cover having little to do with the actual contents of the tape. On another island, I heard a local band playing a relatively obscure Elvis album cut from 1961 as part of their set, confirming not just the interconnectedness of everything but the ubiquity of Elvis Presley to this day, something that neither he nor even Mojo Nixon (who reminded us back in the ‘80s that Elvis was everywhere) would likely credit. Elvis is most definitely everywhere, and it’s fun being part of that. He is certainly still here in Las Vegas; it’s tangible, and the reaction of people who feel that is a big part of the joy of doing what I do.

By the way, if you were thinking of bringing me aboard for your event, please believe me when I say that I am more than happy to sing as much as you might want to hear. It is most definitely not an imposition to have me sing. Many in my line of work will set a strict limit of perhaps just two or three songs, and that’s it (some won’t sing at all but, unfortunately, don’t tell their clients that until they arrive), but I will have no part in such nonsense because I really am in my element when I’m singing. I sang for several hours a day during the six years I was at Caesars Palace, getting through between 70 and 90 songs on a typical day, so not only am I familiar with the entire Elvis catalog — and I have professional backing tracks for all of it — but I really am more than happy to sing as much as anybody might want to hear.

I love taking song requests, too. Many in my line of work don’t like song requests, especially those yelled out or otherwise taken on the fly, because they don’t know the song, don’t like having what they see as their performance being interrupted by someone yelling out a song title, don’t have a track for the song, or simply because it’s a song that they cannot really sing. Please be assured, though, that song requests will always make my day, and the more obscure they are (the caveat being that an ‘obscure’ Elvis song is one that only 50 million people know by heart) the better. I actually enjoy what I do, very much, and although I am also frequently booked for events with no singing I’m definitely up for vocalizing at the drop of a hat. If you do book me and specify that you don’t need singing but later change your mind, even during your event, please be assured that this is most definitely not a problem for me. I’m generally flexible, anyway, but I will absolutely sing whenever anybody wants me to.

Technical requirements for lighting, stage, and sound will vary widely depending upon what kind of event we are talking about. Typically, large-scale corporate events and similar in large to very large venues with full stages (often with teams of AV technicians operating sound and lights and other components from behind the stage and at the soundboard) will provide suitable large-scale sound and other systems. For most bookings in which a performer is using live sound in a small venue with a smaller audience all that is usually required is a power supply for the sound system, and whatever else may be needed for the performance, whether a solo performer or a group.

We are also quite frequently part of events for which a DJ or other sound tech has been hired, either through us or through somebody else, in which case we can plug into their sound systems. To facilitate this, our clients would just need to put us in contact with the DJ or sound tech to ensure that we are compatible regarding the format of our backing tracks, the means of connection, and the procedure for arrival and passing off the microphone, and so on. By now, we have worked with a great many of the DJs here in Las Vegas and, of course, we have all done this kind of thing a great many times so — although we can certainly ‘wing’ it and most definitely adapt as needed — a little pre-event communication between us and the sound tech will suffice to make for a smooth show flow.

Most of our performers are used to performing on the largest of stages, but also in spaces as intimate as a small banquet room or private dining room or a family living room or corner of a hotel suite. We are adaptable in every respect, in other words, to the nature of the venue and of the event.