WK: Please tell me the history of your latest project.
SW: I first came to town back in ‘96 and had been employed at the Lady Luck. I made money on the show. However, I found that there were many aspects that prevent a performer from seeing more revenue. I came up with a project in which you could serve food, perform and have a bar. The idea went away but stuck in the back of my mind.
I was given a $56 million theater at the Sahara which was a blessing. Again, I saw revenue from the show but did not participate in revenue from alcohol sales, gaming or the restaurant. When I came over to the Aladdin, once again, I only received revenue from the show.
It was piling up in my mind. Wouldn’t it be interesting to create an entertainment venue where you could make revenue from the show and different elements that an entertainer wouldn’t normally have at his disposal?
The Magic Castle is such a special place, you can see a magic show and dine and drink. It’s not a new concept, however, I feel like I‘ve reconfigured everything by creating an entertainment complex where I could perform my show, have a restaurant and entire gift shop that would support not only my show and the other shows that I’m producing, it can book reservations. I also came up with the idea of combining three shows, with an ultra-lounge and a nightclub.
When I pitched the idea to some close friends, they were taken aback and said that it was an ambitious concept. I’ve always been focused on not only my show but the business aspects of entertainment. The key is to make the numbers work.
WK: Please tell me about the development process.
SW: I tried to survey people and talk with as many people as I could, tourists in general. I’d ask at bars and restaurants and try to learn what tourists feel about Las Vegas. I was trying to do something that’s completely different from anything that’s been done in Las Vegas history, and something that’s completely different from any other head liner in Las Vegas history.
The next obstacle was to figure out what the project was going to cost from the ground up. We were working with architects and the building department to create the logistics, determine the size of the stage and the nightclub and figure out a realistic budget.
It’s very difficult because there’s so much construction in Las Vegas with all of the new condo towers, the new hotels and projects at the center and there’s a shortage of available labor. General contractors and sub contractors are very difficult to find and there’s a plethora of work for even a handy man. That’s the reality of building in Las Vegas right now.
I got lucky because we were able to get the general contractor who was building the Aladdin. I didn’t think in the beginning that it would take $36 million to complete the project.
Next, Wyrick talks about the challenges of producing the shows and offers advice to young magicians.
