Katy Perry loves Las Vegas, and she loves performing on the Las Vegas Strip.
She says it during her show, the vibrant and completely unique Play at Resorts World Theatre. She says it in her interviews, like this exclusive chat with the Weekly. And she said it repeatedly while receiving a Key to the Strip last summer, in a highlighter-yellow dress by the pool at Ayu Dayclub under a scorching sun.
During our conversation last month, the pop singer behind nine Billboard No. 1 hits—“Waking Up in Vegas” only made it to No. 9 in 2009, by the way—demonstrated that she has a sharp understanding of Strip entertainment and the expectations of a headlining residency show like hers.
“It’s definitely a way to have an incredible show and cater to an audience that wants maybe a more packaged experience like staying at a nice hotel, having a nice dinner, going to a nice show and maybe going out after,” Perry says. “It’s different from going on tour and seeing someone at an arena or stadium, when you’re still playing the last record you put out. When you come to Vegas, you really know you’re gonna get the essentials, the hits, the concentrated version of the artist.”
She gets it, and what’s more, she has some serious Vegas connections. Her father grew up here, and her parents met and married here. Her grandmother worked as a seamstress creating costumes worn in production shows on the Strip, and her aunt was a showgirl in one of those shows—at the Stardust, on the same chunk of land where Resorts World now stands.
Of course, Perry splashed her own campy, cartoon-y style all over it. (Surely you’ve heard of the giant toilet and other gigantic props, if you haven’t yet been to Resorts World Theatre.) With the assistance of producer and lighting designer Baz Halpin and directors and choreographers Ashley Evans and Antony Ginandjar, video content by Blink Inc. and musical direction from longtime collaborator Kris Pooley, Perry crafted a one-of-a-kind spectacle that truly stands out. Play maintains a throwback ’60s vibe within its sights and sounds that connects all the dots.
“I like remembering that vibe of the old Vegas, and there’s something really cool and classy about that,” she says. “Then there’s this new Vegas, too, very experiential and almost family-based. There’s a real pleasing nostalgia aesthetic I wanted to tap into that my own family has been a part of, so I guess I was paying homage.”
It’s easy to imagine this star shining playing the Strip for a long time, which would suit her just fine. Just this week, her residency was extended through mid-August.
“I can see myself being in Vegas for periods of time for the rest of my life, especially since I live so close in California,” Perry says. “I can see myself having many different moments in the future. I’ll still go on tours and be putting out records, but it’s a great touchstone to come back to.”
You opened Play toward the end of 2021 and seem pleased with the way it’s been going. Why has it been such a cozy fit for you? There are three reasons artists do Vegas. One is the comfort level. Having a young child and getting to drop my daughter at preschool and then go to work, then coming home and making the lunchbox in the morning and doing it all again, that’s a special time I’ll never get back. I don’t want to miss that. You know, mommy was on tour in Europe and didn’t get to see you grow three inches.
You do it for that comfort and ease. You do it because you can create this incredible spectacle, because of the capabilities of the show and the stage. And you do it because you’re making a better financial move than a world tour, which is really hard.
Every tour I’ve ever created was a world of its own, but Vegas is a world of its own. I’m an experiential person. I get to indulge in a nice restaurant, take my daughter to see something interesting, see the art installations that are popping through.
I don’t think I’ve ever seen a wider age range at a Vegas residency show. You have parents taking their teenagers and all kinds of groups of different people. How did you manage to cultivate that following? It’s all about the songs, and the personality. I think I straddle the line of the inside joke or the double-entendre. It’s like when you watch a Pixar film—not all the little kids understand the jokes, and some are written especially for adults, so everybody can enjoy it.
That’s always been my brand, ages 8 to 80. I’ve always tried to maintain that integrity and trust with my audience, and it’s always been 8 to 80, because I don’t think I cross the line of being too age-appropriate. I straddle it, literally, physically. I have fun being cheeky, but I don’t necessarily need my cheeks out. That can all evolve in the future, but I’m not vanilla, not a play-it-safe artist, but I’m not like a shock jock.
Seeing Play and really understanding your grasp of the visual side of what you do—not just this show but so many wild music videos and touring production setups—also made me wonder why you haven’t done more with movies or TV. Is that something you’re considering? I’m always open to the right thing, always open for the conversation. It’s a juggling act. I’ve created a few other businesses on the side, and I always say that music is the trunk of my tree. but there are other creative branches blooming and I’m managing them. Getting them to be full and flourishing is a large operation.
I get sent all kinds of things all the time, and some are an obvious no, and a few of them are great. But it’s just about having 24 hours in the day, especially when you have a child and you’re laying that foundation of presence with them. That’s super-important for me.
Have you thought about what this Vegas show might mean in the grand scope of your career? Do you think it will rank as one of your favorite accomplishments? A hundred percent. When we were creating this show, I had to have a real come-to-Jesus with myself about who my audience potentially was. It isn’t always my core fan base. My audience is a convention attendee looking for a night out, or a bachelorette party, or my audience got a family package to the show, or it’s their 21st birthday. It’s people that are creating an eventful day to celebrate whatever they’re celebrating. Those people may not know every album I do front to back, and that’s why I had that conversation with myself and why 85 to 90 percent of the show is those undeniable, big, massive hit songs.
I’m not going to do a self-serving, self-proving, I-am-a-serious-artist moment, I can save that for a tour if I want. This show is larger than life, which is really what Vegas is. And I’m glad I went this route, because the other route is a little more obscure and a little less light-filled.
I will look back at this show as one of my favorite shows I ever put together, but I could only put this show together in Vegas. There’s no way I could take these oversized props all over the world. There’s no practical way to ship or fly 20-foot-tall toilets and put them together night after night. Actually, I’ll probably go out on a world tour and have the sads, because I’ll have to have a more realistic approach when creating another show.
One could argue that creating this show, which is so tuned to your music and style, against the backdrop of Las Vegas and all the other residencies and entertainment options, actually is a serious artist moment. Listen, it’s not easy. And serious doesn’t have to be sad and moody. It’s pop art and that’s to be taken seriously, too, right? Andy Warhol and the Campbell’s soup? People are taking that seriously. Joy is valuable. A lot of artists are moody and introspective. For me, there’s always layers, and the fans know that. Nothing is one-dimensional.
KATY PERRY: PLAY February 17-18, 22, 24-25; March 3-4; April 5, 7-8, 14-15; 8 p.m.; $93-$356. Resorts World Theatre, axs.com.
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