Kristen Hertzenberg: Getting Up Close and Personal in Cabaret Jazz

Performances and Artists

As a regular at The Smith Center, Kristen Hertzenberg has performed in both Cabaret Jazz and Reynolds Hall. Recently, she talked to Matt Keleman of Las Vegas Magazine about the difference of playing in each venue.

What makes Cabaret Jazz a good room? It seems to be a go-to place for Strip performers who want to break out and do something personal.

Hands-down, the sound is spectacular. It’s the best sound I’ve ever had in any show that I’ve ever done, and that’s a testament to the room and the equipment they have there. The sound engineering they have in there just out of this world, and that’s the comment everybody makes when they leave that room: “Whoa!” It makes you feel so good about yourself when you hear it coming back through the speakers like that. You just want to keep doing it. The people at The Smith Center have become like family to me, so I like going back for that reason too, just to reconnect with them.

How was God Lives in Glass, and what’s the difference between playing the big room at The Smith Center and the little room: Reynolds Hall vs. Cabaret Jazz?

Cabaret Jazz seats about 240, and it’s just a really intimate experience. You can make it feel like you’re in your living room with people, and I love that. I love being able to look up and being able to see their faces in the balcony. It’s the polar opposite in Reynolds Hall. It’s just a sea of darkness out there, but it’s thrilling. It’s such a gorgeous room, and again, the sound is great in there and it’s got wonderful staff. You’re singing for 2,000 people, so that’s just kind of a rush. God Lives in Glass was great because we had a 20-piece orchestra onstage and I think there were 70 voices in the choir. Any time you get to be backed by something like that, it’s not something that happens that often so it’s pretty thrilling.