I arrived in Las Vegas in 1977, grabbed a waitress job at the pool at the Circus-Circus and set out to scour the newspapers for audition notices for the shows. One of those was “Bare Touch of Vegas” at the Marina Hotel. I auditioned but had not heard anything and so had written it off and resigned myself to cocktail waitressing.
My poolside boss at Circus-Circus (I’ll call him Frank) was a young, easy going fellow who loved to put on a fake French accent to talk to “the girls.” He kept us endlessly amused and used the accent often. This particular day, Frank told me his car had died and asked if he could call me for a ride if he couldn’t get it up and running. He promised not to call too late. Mai oui.
Sure enough, my phone rang in the early evening. When I answered, the French-accented voice said, “Leeza Brodeur?” I responded with similar flair. “Oui.” There was a pause and then he said, “This is Pierre Bezard. I am calling to invite you to an audition.” I giggled at how far Frank was willing to take this little charade and said, in a voice full of innuendo, “Oooh, what kind of an audition?” A longer pause. I started to feel a bit doubtful and said “Frank?” “No, this is Pierre Bezard. I am calling to invite you to a callback for ‘Bare Touch.'” OH MY GOD!
I went to the callback and although I was pretty good, I was told that I was 2 inches taller than the rest of the cast, so they decided on someone who blended in a bit more. As it turns out, Frederic Apcar, the producer of “Bare Touch of Vegas,” was also the producer of “Casino de Paris” at the Dunes Hotel. A couple of months after the phone fiasco, I auditioned for and got a place in “Casino de Paris” and stayed for four years. Pierre was often around and at some point I fessed up to being the crazy girl on the phone call. Unperturbed, he just laughed and commented, “Ah, you are the one.”
Looking back, although I’d initially been devastated to lose a job because I was too tall (a rarity, I discovered), I was lucky to spend the next four years in “Casino de Paris.” I’ve often commented that “Casino de Paris” was the best dance show I ever did and that if I’d known I was starting with the best, I’d have retired after that. That’s not quite true, of course, because I subsequently spent three years traveling overseas to places I’d most certainly never have had the opportunity to see otherwise but, forty years later, “Casino de Paris” remains my favorite.