The Liberace Museum in Las Vegas, honoring the flamboyant entertainer known as much for his glitzy costumes and extravagant performance style as for his piano playing, and who epitomized bling long before it was a household word, will close next month.
“In some ways, the museum was the last vestige of an entertainment icon,” said Jeff Koep, chairman of The Liberace Foundation for the Performing and Creative Arts, which runs the museum that exhibits the entertainer’s extensive costumes, cars, pianos, candelabrum, and jewelry.
Often referred to as “Mr. Showmanship,” Liberace is known for giving his audience what they wanted, with performances that included everything from classical to pop music. He is credited with influencing entertainers from Elvis and Michael Jackson to Elton John and Lady Gaga.
“He was Mr. Las Vegas for almost 40 years, until the year he died,” in 1987, said Darden Asbury Pyron, professor of history at Florida International University in Miami and author of “Liberace: An American Boy.” He set attendance records at Radio City Music Hall, Madison Square Garden and the Hollywood Bowl.
The museum’s announcement last week that it would end its 31-year run on Oct. 17 was unexpected, said David G. Schwartz, director of the Center for Gaming Research at the University of Nevada, Las Vegas, and in a city dominated by the casino industry, it is seen as a significant loss. “Las Vegas doesn’t have that many museums, so it’s a pretty big deal. It’s been a good thing for the city.”
“It’s been a very popular attraction,” said Alicia Malone, a public relations manager for the Las Vegas Convention and Visitors Authority. “It’s been a very unique part of Las Vegas cultural history for 31 years. That’s what visitors to Las Vegas are looking for, a one-of-a-kind experience, something you couldn’t necessarily find in other cities.”
Las Vegas was hard hit by the recession but tourism remained fairly strong. After decades of solid growth the number of visitors to the city dipped slightly after 2007, a record year, but in the last 11 months has either matched or surpassed monthly volume from the previous year, Malone said.
In contrast, Koep said, there has been a steady decline in numbers to the Liberace Museum, from a high of 450,000 annual visitors 15 years ago to about 50,000 annually today.
Waning interest — along with the museum’s real estate problems, mortgage debt and lack of a steady income stream — also factored into the decision to close. The Liberace Foundation owns the strip mall that houses the museum, but 50 percent of the rental units currently are vacant. And while royalty revenue from intellectual property was robust 30 years ago, today selling to a younger generation unfamiliar with Liberace’s music is tough, Koep said.
“We are not closing the book on Liberace or what he stands for,” he added. “We’re trying to regenerate the brand.”
The foundation recently finalized a deal for a national traveling tour of its Liberace collection and one day hopes to reopen the museum in a more accessible location in Las Vegas. Currently, it is five miles from the Strip.
Being more fiscally prudent also will ensure Liberace’s legacy to continue to fund scholarships. Since 1976, roughly $6 million in music scholarships have been awarded to some 2,700 students.
Several projects are in development that are not affiliated with the foundation but that could help rekindle interest in the performer. They include a musical and a Steven Soderbergh-produced movie, set to star Michael Douglas (as Liberace) and Matt Damon
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I shall die, but that is all that I shall do for Death; I am not on his pay-roll.
Edna St. Vincent Millay