Accolades & Reviews


Carnival of Astonishments
Magic Magazine Cover Story: December Issue 2007

By:Jon Racherbaumer

“I hear the rush of mulatto river pushing by, hear always, stomp! stomp! The beat of the grinning Buddah’s foot as he shouts his way to the ‘Sunny Side of the Street”…”

                                                                                                            -Truman Capote

“Over the global village falls the veil of Maya. Amazement sits upon the brow. We are not only talking about play, but a galaxy of the Imaginary, the immanence of World-Play.”

-Herbert Blau


This article is about two magical artists who can walk among us unnoticed and unrecognized. Yet they have worked around the world, won numerous prestigious awards, and have been highly praised by such celebrities as Sean Connery, Tom Jones, David Copperfield, and Michael Jackson. The arc of their artistic journey is unusual, spiked with surprises, taking them to unexpected places—the latest being New Orleans. May this brief story provide glimpses into what lies behind the masks…


The setting is perfect—perhaps too perfect! But this is not a bad thing. Thrillusions ®, despite having a name that sounds like a bottle of lethal cologne designed for NASCAR drivers, is a perfect fit for the Big Easy. Billboards around town suggest a mysterious hybrid, splashy, ambiguous show with a hint of a carnival or circus. Its short hype promises a world of colliding illusions meant to “rock the world of magic.” Okay, I’ll bite, but first a clarification: It’s no accident that Thrillusions ®Thrillusions is staged in New Orleans—a Dream-State-City still coping with the nightmarish hangover of an Imperfect Storm. And thanks to a local producer and creator of the show (Hollie Vest), who recognized correspondences between the celebratory magic of Mardi Gras and a magical show (not a magic show) featuring the same identifiable aspects. Hence, Thrillusions ®Thrillusions became a reality. So, from September 13th to November 10th (except for a 10-day hiatus) it raucously played at Harrah’s casino, a stone’s throw from the rolling, muddy Mississippi River on one side and the French Quarter on the other. Granted: Regional casinos tend to be localized, down-scaled versions of the gargantuan models of Las Vegas, but the sounds of slots are the same. Showrooms may be smaller, but the trade-off is intimacy. The clientele seems identical, but subtle differences exist. They are solidly middle-class and no-brow and they wander like nomads of the American Dream—giddy browsers and players ignoring the long odds and conditioned by mainlining the Consensual Hallucinations of television. It’s true. New Orleanians may habitually ask “where y’at,” but, trust me, their wide-bandwidth awareness sniffs out parties from fifty yards. After all, they live in a city of jubilant reality-checks and they know in their bones that their city is a show in itself. It’s a place where keeping one’s head above water is a given; where natives are vigilant, edgy, experimental, spontaneous, and free-wheeling (The next drink is always a good idea). This is why I redundantly exclaim that New Orleans was the right-and-righteous place for Thrillusions ®Thrillusions to showcase its rambunctious celebration of music, mayhem, and magic.

As mentioned earlier, billboards provided hints of the magic-makers. The faces of Phillipart and Anja look passionately prankish. Or perhaps they express a bit naughtiness? The face of the mannish one (Philippart) is a masque— a pop-iconic mixture of images associated with menace, mayhem, clownishness, and fiendish mischief. In equal parts it is Batman’s Joker, a more macho Beetlejuice, and Gene Simmon’s tongue-taunting Kiss. Or maybe he’s a refugee from a rogue Kabuki troupe? His grinning partner, Anja, seems a more-than-willing accomplice—not just an assistant but a lively partner. Her costume is just as wild and outlandish, calling to mind Joan Jett and the lead singer of “The Misfits” from the 1980s Jem cartoon show. (Are you trivia buffs with me so far?) Otherwise, the advertisements were tantalizingly vague. Or, as one reviewer later put it: “Thrillusions is a difficult show to describe.” He got that right.


The specter of carnival was in the air. The staging area at Harrah’s was roomy enough for magicians, singers, and dancers to move and breathe freely without being hemmed in. Obligatory and large video-screens were stationed at both sides of the stage, no doubt meant to simulcast video images of flesh-and-blood performance, blending the real and the represented. (“Live” performance these days tends to be a subtle mixture of simulations of what is often and apologetically referred to as the “real thing.” This is why an off-stage voice at the beginning of Thrillusions ® explained that the impersonating singers—who, by the way, were quite good—did not lip-synch. They actually were singing.) The show’s music was also precisely calibrated to what it accompanied and was—shall we say?—ecstatically amplified. Amped to the pitch of rock-concerts, its boom-box beat penetrated the bone. Even the dead tapped their toes.

The spectators filed in as parishioners of a gospel church, reverently expressing a slightly crazy sense of expectancy. At a moment’s notice, any of them was ready to get up and dance. Even now, despite the city’s setbacks, natives and visitors appreciate being smack dab in one of America’s premiere pleasure centers; and its pursuit is a cultural entitlement. Music, dancing, parading, and magic all blend into an emotionally-charged gumbo. This is why Hollie Vest fought to make her show happen. And this is why audiences were thrilled by what they saw and what they eventually got.


The show ran 90 minutes, consisting of eight, rhythmically linked segments; and, like an actual Mardi Gras party, it emanated the same kind of energy and sass. The singing segments by Hollie Vest (as Tina Turner) and Vince Gibbs (as Prince) complemented the high-jinks of Phillipart and Anja. Each singer performed two 10-12 minute sets that were neither disjunctive or out of place. All of the songs were recognizable hits that resonated with the audiences, serving to evoke memorable, emotional associations. Moreover, spectators were encouraged to sing along and physically respond. (For the record, Hollie Vest has been energizing audiences since 1984 and started entertaining professionally in 1977, and spent 15 years as a bandleader/singer performing all styles of music through out Southern California Night Clubs, Hotels, Casinos, Theme Parks and Restaurants. After many years of being compared to Tina Turner, she surprised her audience one New Year's Eve by donning Tina Turner's attire and attitude singing “What’s Love Got To Do With It” –which she sang in Thrillusions ®.) Everyone loved it, and a star was reborn, along with a new career as a Celebrity Impersonator. She was also an integral part of the Sun City Extravaganza Show (“Beyond Belief”) in South Africa, working there with Phillipart and Anja. (She was the recipient of the 2003 International Celebrity Images award for Best Corporate Event Performance as Tina Turner in her 2002 New Orleans Super Dome show for 12,000 people, where she received a standing ovation.)

A high-point in Thrillusions ® occured when she invited eight reluctant male audience members onstage to act as “Teenettes.” As one reviewer put it: “Watching them shake their booties to the beat of ‘Proud Mary,’ at Tina's behest, was akin, I suspect, to watching the Romans toss captives to the lions. Oh, the humanity!” Vince Gibbs, the other impersonator-singer, has performed all over Asia, the United States, and Guam. He has entertained audiences in countries such as Thailand, Indonesia, Singapore, Taiwan and Hong Kong. If you are curious to see him perform, check out one of his performances on YouTube. The similarities between Vince and Prince are amazing and captured the mystery, excitement and fun of being at a real Prince show.

The show began and blasted off with seven energetic, female dancers twisting and grinding to the hyper-ventilating strains of Guns & Roses (“Welcome to the Jungle”). Then Phillipart suddenly appeared like a gate-crasher, eventually producing Anja via the Vampira Illusion.  Once onstage, the twosome performed a duet of magic that clearly established the nature of their relationship, revealing that they were doing something much different from stereotypical magic fare. For one thing, all illusory aspects did not directly challenge spectators to fathom the mysteries or unravel the puzzlements. Instead they made it clear that they wanted to get inside the spectator’s heads. Once there, they did not jerk them around or bedevil their intellects. Instead they were invited into a world of pure whimsy and illusion.

The singers were a different matter. Openly confessed impersonators, the singers skillfully played artificial “parts.” They acted as real-world counter-parts. Phillipart and Anja, on the other hand, were impish agents who obviously do not exist in the “real world.” Yet there they were, comfortably at home in a fantastic world where the audience was the only real part. As mentioned earlier, Paul and Anja were costumed and masked, and the masks enabled them to play by holiday rules without the usual accountabilities normal life demands and expects. This provided many off-beat and funny moments. Also, their masks called attention to them, concealing who they really are while simultaneously revealing exaggerated selves.

Their first set closed with the serene diamond-levitation.

Next, Tina Turner was magically produced and then sang 4-5 signature songs (such as “What’s Love Got To Do With It?”). At one point she sashayed into the audience and seductively interacted with spectators until the “Burn, Baby, Burn” Effect took hold.

During every one of their segments in the show Phillipart and Anja stayed in character, intermittently performing several standard illusions—Ashra, Shadow Box, Twister, Impossible Sawing, and an eye-arresting, spruced up Slicer Illusion. (The way Phillipart modified and improved Franz Harary’s illusion is a lesson in design and showmanship.) Stage illusions of course are a staple, but their illusory features were not as significant as Phillipart and Anja’s light-hearted, comic approach. Most illusionists prefer to accent the grandiosity of their props, tubes, and boxes, emphasizing their size and physical oomph. They also tend to perform with semi-serious aplomb. On the other hand, Rather than just making their illusions “work” Phillipart and Anja make them work for them. This is a big difference which likewise permits them to further convey the nature of their comedic relationship. Theirs is a team effort; therefore, their tit-for-tat relationship is not power struggle nor is it about dominance versus equality. This is what humanizes and endears them.

Both Philippart and Anja move extremely well onstage (which is not always the case with illusionists). Phillipart moves with martial-artistic assurance—taking long, loping strides, making grand flourishes, and executing precise turns. More telling is how he works his over-sized, expressive mouth, which evinces the simple yin-and-yang of his behavior. Mentally more complex than he looks, he is equally impulsive and inventive. This, coupled with the way he laughs, softens his supposed sinister persona, turning it into something irresistibly less sinister. His laugh, by the way, is an outburst—gleeful, guttural, short, and explosive. To him, anything gory is a hoot. In short, he brims with prankish bad behavior. Thankfully, as long as he remains on the other side of the fourth wall, his scariness is harmless…

It’s worth mentioning how Phillipart and Anja downplay the negative elements of some illusions. In those that give the impression of danger, pain, or possible suffering, they mollify this dark intent. More importantly, they know how inherently bogus it is to seriously sell this proposition. Subjecting an assistant (victim) to experiments in fake victimization seems patently facetious, or, worse. If an illusionist overacts, he comes off as being a fatuous pretender or silly fake. Few lay people these days are willing to play along with “grand illusions.” Therefore, it was refreshing and liberating to watch Phillipart and Anja take their lighter, humorous approach. All totaled, they perform 12 illusions: Paradox Sphere (Philippart's reveal, but designed by Ken Whittaker/Paul Haines, also known as Creative Illusions)/Paul Philippart), Diamond Levitation, Gemini Cage - Creative Illusions, Asrah, Sword Through Neck, Impossible Sawing - Creative Illusions/Paul Philippart, Shadow Box - John Gaughan, Twister, Tube - Franz Harrary/Paul Philippart, and Million Dollar Mystery - Jim Steinmeyer. Their rendition of Twister (where the assistant's head rotates 360- degrees many times), was great, self-referential, physical comedy. They converted the event—namely the twisting part—into an act of accidental discovery. Adding a remote controller was a inspired addition. (Martin Lewis’s father, Eric, knew the comedic possibilities of this illusion when he invented it. Others in the past—Franz Harary, Ed Alonzo, and Mark Kornhauser—also developed humorous presentations.) The crowning Diamond Illusion was saved for the finale. This rendition of “The Million-Dollar Mystery” measured up to its introduction—“You are not going to believe this!” In fact, another reviewer later gushed: “I was bewildered at how the clowns, dancing girls and impersonators all ended up on the same stage, coming out of a small box that was intermittently shown empty. Thrillusions seemed completely Thrillillogical.”

So, on this high-pitched note, Thrillusions ® ended…with all the players onstage, singing in unison, led by Phillipart’s rock-operatic voice: “Let Me Entertain You”…, accompanied by the blasts of confetti cannons. It was a Mardi-Gras Moment. Let me entertain you, indeed. This is exactly what they did, and the audience stood and joyously affirmed.

Note: Thrillusions ®is owned by its executive producer, Hollie Vest. She also owns the service marks—“Rockin the World of Magic” and “When Worlds of Illusions Collide.” Other people have used the named in the past, but have done so illegally (even if it was inadvertently done so.)

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Thrillusions Produces Amazement All Around

Review by

Those of you who read this blog know the topics tend be primarily music and band related (hence the clever url  However, every now and then I like to veer slightly to include something that is tied in with music, like the movie “Across the Universe”, for example.

Music and Magic together in a show is not the newest thing out there.  However, the high-energy collision of music with stunning magic that is known as Thrillusions is a fresh and exciting ride through a world where you honestly don’t know what to expect next.

My wife and I were fortunate to have seen two showings of Thrillusions at Harrah’s Casino in New Orleans.  If you are in the area where this show is performing and have a chance to get tickets, I suggest you give Thrillusions a look - you won’t be disappointed. 

At the center of Thrillusions is the master of illusions, Philippart.  His appearance to me conjures thoughts of characters from a Cirque du Soleil or perhaps Cats performance.  He skillfully and delightfully weaves his magic whilst playing to the crowd quite well.  Philippart’s sidekick, Anja, is a great foil to his magic schemes.  Together, they display a great mix of amazement and humor.  It is very enjoyable to watch them in this act.

Aside from the nucleus of the magic in Thrillusions lies a collection of top-notch music and dance performances.  To provide the act some variety, Thrillusions includes performances by several noted celebrity singer impersonators.  Hollie Vest entrances the crowd with her spot on Tina Turner performance.  She really gets into working the crowd.  In fact, on each of the two performances I saw Hollie pull up a collection of willing (or semi-willing) male volunteers on stage with her as her backup dancers for “Proud Mary”.  Who said Ike would ever get the last laugh?

David Bowie was also represented thanks to David Brighton.  Of the impressionists in Thrillusions, I think David Brighton had the closest resemblance to the original performer.  He too was strongly playing to the crowd as he sang a number of hits from the Bowie library.

Rounding out the impressionist group in Thrillusions was Prince, nicely portrayed by Vince Gibbs.  Vince is clearly on his game as he was turning in a smoldering collection of Prince classics.  He wasn’t beyond throwing in a few dance moves as well.

Present throughout the show of Thrillusions is the high-energy dance of the Thrillusions dancers.  Choreographed nicely by Bart Doerfler and lead dancer Jennifer Vossmer, the Thrillusions dancers open the show and give the audience non-stop excitement and palpable energy.  The energy in Thrillusions is flowing from the opening number, and it reaches a fever pitch with the finale, which involves a classic New Orleans second line.

Thrillusions is in the process of wrapping up their premier U.S. performance at Harrah’s.  I was able to speak briefly with Philippart and Hollie Vest after one showing, and Hollie indicated to me their goal of bringing this show to Las Vegas.  With their brand of stunning magic and amazing music and dance performance, it seems it won’t be long before Thrillusions calls Vegas home.

Find out where Thrillusions will be performing next at

This entry was posted on Saturday, November 10th, 2007 at 6:51 pm and is filed under Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


Thrillusions a Good Bet at Harrah's
Times Picayune, September 14, 2007
By Doug MacCash/Staff writer

I don't accept invitations from celebrity impersonators to roll my pants up to my knees and act as an impromptu backup dancer in front of hundreds of strangers. That's my policy. So when Tina Turner impersonator (and show producer), Hollie Vest, extended her hand my way during the premiere of Harrah's new Thrillusions show Thursday night, I declined politely, saying, with truthfulness, that I'm too nervous.

Thank God for personal policies

Eight other male audience members accepted the siren's call. Watching them shake their booties at Tina's behest, to the beat of Proud Mary was was akin, I suspect, to watching the Romans toss captives to the lions. Oh, the humanity.

The only victim who seemed completely comfortable in the role of backup dancer, was octogenarian Mardi Gras magnate Blaine Kern, who boogied with abandon stage center. I hope I have his joie de vivre when I'm his age. Heck, I wish I had his joie de vivre now.

Kern wasn't the only Crescent City celebrity in attendance. Though I didn't see him, I heard Mayor C. Ray Nagin was in the house, as was public TV mainstay Peggy Scott Laborde, seated near the center row, where she was enthusiastically embraced by an amorous ghoul clown. Yes, an amorous ghoul clown.

Thrillusions is a difficult show to describe. Joining Tina, is David Bowie impersonator David Brighton, who vamps through Fame and other classics in a fetching lemon-colored suit and brown loafers. My single favorite part of the whole show, was when Bowie crooned China Girl. As he sang, one of the Thrillusions dancers -- a dozen young women even more elastic and enthusiastic than Blaine Kern -- undulated alluringly on the stage steps in come-hither kimonos.

That brings us back to ghoulish clown magicians, Philippart and Anja, who energetically pantomime through classic stage tricks between impersonator sets. Poor little Anja disappears into various boxes and cages, where she's apparently stabbed or dismembered in one way or another -- more Roman entertainment -- only to reappear intact later. My favorite was the giant bologna-slicing machine. I honestly can't figure out how Anja escaped the tube in one piece.

In a post-show interview, Philippart explained the trick, which is almost as miraculous when you know how it is done as when you don't. Let's just say svelte Anja better lay off the beignets, or things could get messy.

Since Philippart and Anja are from the flood-prone Netherlands, I also asked Philippart if he had any views on New Orleans' below-sea-level situation.

"Unfortunately," he said, "I'm not a structural engineer."

Insert your own clown-as-levee engineer joke here.

As far as his reaction to the city, Philippart said he was surprised by how lovely downtown appeared.

"I was prepared for a lot worse," he said. "I was flabbergasted by the beauty. The architecture. The food is phenomenal. As far as I can see, the place is in so much better shape than the media would lead us to believe. I think New Orleans has the reputation of being a musical, magical place. Some said it had lost its magic, I don't think so."

As far as the magic of "Thrillusions" is concerned, I was bewildered at how the clowns, dancing girls and impersonators all ended up on the same stage in the first place. "Thrillusions" seemed completely Thrillillogical.

Producer Vest, a New Orleanian who has been impersonating Tina for 23 years and is a big fan of Philippart and Anja, said she wanted to put the Dutch magicians on a New Orleans stage to "give people a reason to come here instead of Las Vegas or Gulfport (Miss)."

Maybe that is logic enough.

I say, if you come out $25 ahead on the slots, check it out.


What: A live variety show featuring an odd blend of celebrity impersonators and magic.
When: Most shows are Thursdays through Sundays, 7 p.m., through Oct. 7. Dates and times may vary, so visit or call (504) 533-6600.
Where: Harrah's New Orleans Casino, foot of Canal St.
Admission: $25.
Your Opinion: To comment or write your own review go to Doug MacCash's blog at


Posted by alwaysnola on 09/16/07 at 1:21AM

I attended the show and I thought is was great. A lot of variety and defintily worth the price. Not your typical New Orleans "tourist" show.

Posted by girlinNOLA on 09/16/07 at 1:48PM

I saw the show with some girlfriends friday and was amazed. Granted, I don't have a personal policy about not dancing with celebrity impersonators. In fact, my policy is when in New Orleans, do as the New Orleanians do. So I danced! The show was all about rock 'n roll, magic, and fun. What's not to love?! New Orleans needs a show like this. Thank you, Thrillusions, for giving us a place to let our hair down and shake a tailfeather. Encore!

Posted by detivtj on 09/20/07 at 10:55AM

Was there Sunday night, great show! For a second I thought I was in Vegas. Definitely worth the $25 bucks Fan Reviews

11/03/2007 Posted by orleansfan

Thrillusions is the current show at Harrahs. This show was an exciting highlight of my visit to New Orleans. I was spellbound by the magic of Philippart and Anja. Broadway caliber dancers and appearances by "almost" Tina Turner and Prince added to the fun. Thrillusions was thrilling. Philippart and Anja are unsurpassed in magic and showmanship. This show should not be missed. I recommend this show to everyone--big fun!!!!

1 out of 1 people found this review helpful


Posted by hais53 on 10/11/2007
This is the greatest show I have seen yet at the New Orleans casino. I hope they come to my home town some time so I can get a group together and share the great fun !! What lovely costumes and great magic. Worth the money and the time. Great surprise at the end of the show.. Recommend to all!!!

· Pros: great entertainment
· Cons: would like to see more magic

Posted by janisbbbbb on 10/11/2007
Great show..... worth the time and the money. Great illusions to keep it very interesting while other singing entertainers pop in like "Tina Turner" and Prince" . The whole show creates an audience participation atmosphere that has everyone laughing. I would see it again. Any show that makes you feel good when you leave is a show worth the time and money. GREAT !!


Posted by roofinpam on 10/11/2007
This was the most fun I have had at an Illusion/entertainment show in a long time. The colorful costumes and great illusions kept me completely entertained . I actually saw it twice while visiting in New Orleans. Anja steals your heart and Phillipart is a hilarious evil magician. The impersonaters do a great job,too. It is a must see show if ever you get the chance. Highly recommended !!!!!!

· Cons: NONE

Purple Reighn, Great Show
Posted by yogaking on 10/08/2007
Their show was excellent. Loved all of it... Especially the Prince performer. Damn! He really rocked tha house! Purple Reign most definitely! I just wish the show was longer it was that good! My toes were tapping the whole time! My review is I would go to this show again because it was that good.

· Pros: Everything was great!
· Cons: Would like to see it be a longer show.

Best money I ever spent
Posted by johnnyfisher on 10/02/2007
Thursday night I went to see Thrillusions at Harrah's. I don't like magic, and I normally would not go to a magic show, but the buzz here in NOLA is so strong, I could not resist. And boy, I was not dissappointed!!! What an amazing show! The magicians are so funny that I had pain in my cheeks for two days. The magic is fantastic and I have never seen anything like it. Best piece for me was where the magician operated on his assistant to remove an evil little creature that was inside her. He litterally reached INSIDE HER BODY that was cut in two pieces and all this in full view. I was blown away. And then there was this box, out of which they made ten dancers appear. In one word: Incredible. The admission was the best money I ever spent! The singers were spectacular. They were impersonators of Tina Turner and Prince and they fooled me completely. I thought I was looking at the real thing. And then of course the dancers... If you are in doubt whether there is a God, you'll be convinced after seeing these beauties grace that stage. I say: thrillusions is a MUST SEE for all us New Orleanians. It'll make you forget about all the problems that're going on here. Go see it!


Smoke and Mirrors Review
Illusionists Phillipart and Anja Appear (and DISappear) at Harrah’s
by Dean Shapiro

By overwhelming popular demand, the exciting THRILLUSIONS magic and live entertainment show currently being staged at Harrah's New Orleans Casino is being extended through Saturday, November 10.

The show will run through Sunday, October 21, then take a ten-day hiatus while a new show -- GLITZ: THE ART OF FEMALE IMPERSONATION stages two animated performances during the THRILLUSIONS break. GLITZ is an avant-garde, locally originated production that showcases the outrageous and extraordinary impersonations of legendary female performers such as Liza Minelli, Diana Ross and New Orleans' infamous “Bianca del Rio.” GLITZ will be featured at Harrah’s Theatre on Oct. 26 & 27 at 9 p.m. THRILLUSIONS will return to Harrah's -- appropriately enough, on Halloween night, October 31 and run through November 10.

If you think of magic as just simply “smoke and mirrors,” maybe it is. But, still, as world-renowned illusionists Phillipart and Anja say, “It’s fun to be fooled.” The outlandish Dutch duo, who have entertained and thrilled audiences on four continents, added a fifth continent when they made their U.S. and North American debut at Harrah’s New Orleans on September 13. For the remainder of their run here, Phillipart and Anja will continue “rockin’ the world of magic” with their THRILLUSIONS show in Harrah’s Theatre.

The character of Paul Phillipart has been alternately described as that of a “jovial joker-jester.” Dressed up in loud, multicolored outfits and made up with a white painted face and wild hairdo, he has been compared to Gene Simmons of Kiss, The Joker from the old Batman TV series and Beetlejuice. Anja’s equally wild, equally outlandish getup calls to mind Joan Jett and the lead singer of The Misfits on the 1980s Jem cartoon show.

But the cosmetic outlandishness is only a small component of the Phillipart and Anja repertoire. Their fame and forte is creating unbelievable illusions, aided by high-tech devices unavailable to earlier generations of magicians. Phillipart is a trained actor and singer. Anja is a trained dancer and costume designer. Together they have created, over the past 20 years, an eye-popping show that has had audiences – and world-renowned celebrities – oooh-ing and ahhh-ing in disbelief. Ever dreamed of sawing your mother-in-law in, not one, but SEVERAL pieces? P&A will show you how it’s done. Ever see eleven scantily clad girls come out of a single small box? You will. You will also see Anja stretched to unbelievable heights and lengths and levitated with no strings attached, plus bird tricks, celebrity impersonations, dancers, live vocals (no lip synching!) and many more visually and audibly thrilling illusions.

THRILLUSIONS is featured at Harrah’s Theatre Thursdays through Sundays at 7 p.m. The schedule will include a 2 p.m. matinee show on Saturdays. From October 31 through November 10 the shows will be Wednesday through Saturday at 7 p.m., with a 2 p.m. Saturday matinee. Tickets start at $25 each.  Louisiana residents receive $5 off each ticket with state identification. Tickets for THRILLUSIONS can be purchased at the Harrah’s box office at 504-533-6600 and at For more information, visit

Harrah’s New Orleans is operated by a subsidiary of Harrah's Entertainment, Inc., the world's largest provider of branded casino entertainment. Since its beginning in Reno, Nevada nearly 70 years ago, Harrah's has grown through development of new properties, expansions and acquisitions. Harrah's Entertainment is focused on building loyalty and value with its customers through a unique combination of great service, excellent products, unsurpassed distribution, operational excellence and technology leadership.