Pamela Anderson sparkles in “The Last Showgirl.” Quite literally.
Anderson plays Shelly, an aging showgirl who dons sparkly outfits in her job. In a scene where Shelly talks with her estranged daughter, played by Billie Lourd, the light catches glitter residue on her skin. Anyone who has worn glittery makeup can tell you how difficult it can be to get it off, and one can only imagine she never gets it all off.
Shelly navigates upheaval in her entirely intertwined personal and professional life as the show she has been a part of for years announces it’s closing. Her plight, and the plight of several other characters in the film, highlight the challenges performing artists and service people face in the Las Vegas economy.
Shelly often reminisces about a better time when the showgirls in the “Razzle Dazzle” were treated like celebrities. She repeatedly defends the show’s raunchier elements as “French” and describes the status she had as one of an “ambassador.” But the reality is far from glamor. The characters lament costume rips, knowing the repairs will be deducted from their wages, their lack of health insurance, and joke about retirement as a fantasy. Their livelihood is under constant threat of elements out of their control, and they have no safety net –– just some glitter that won’t come off.
A New Era and a United Strip
In October 2024, the Chippendales dancers unionized with Actor’s Equity Association (AEA). They join other workers recently folded into the 111-year-old labor union that may seem a bit unconventional compared to the union’s established rank-and-file. AEA traditionally represents stage actors and stage managers across the country, but the union is growing to include different kinds of workers. Strippers from the Star Garden in Los Angeles and Magic Tavern in Portland, performers in “Drunk Shakespeare” and now Chippendales dancers have all organized with AEA.
“The entire Las Vegas Equity community is thrilled to welcome the Chippendales into our ranks,” said Marci Skolnick, a stage manager and local AEA leader for Las Vegas. “The recent victory by the Culinary Workers Union, who successfully unionized the hospitality workers up and down the entire strip, proves that Las Vegas is, and always has been, a union town. Actors’ Equity Association is here to help the Chippendales get union contracts, complete with union benefits, that will enable them to make a real living doing what they do best. Our entertainers make Las Vegas a world-class destination. Union membership reminds the world that our entertainers are world-class.”
This victory from the dancers was preceded by the Culinary Workers Union (CWU) successfully unionizing the Venetian and Palazzo Resorts cementing the famous Las Vegas Strip as fully unionized. The CWU victory comes a year after the death of Sheldon Adelson, the founder and former CEO of the resorts who engaged in anti-union tactics such as trying to declare the sidewalks outside of his resorts private property to keep away protestors. This attempt was foiled by the U.S. Supreme Court, who ruled that the sidewalks belonged to the public.
Facing Pushback
However, the Chippendale’s dancers now face union-busting tactics from their employer. According to AEA, these tactics have included
“a series of captive audience meetings to intimidate the workers away from supporting the union. The employer has also removed known union supporters from the work schedule and is now going as far as forcing all dancers to reaudition and reapply for their jobs, therefore effectively discharging all union supporters. The union is seeking an injunction calling for the reinstatement of all of these workers, among other remediations.”
AEA has filed an unfair labor practices complaint with the National Labor Relations Board. “Retaliating against unionizing workers this way isn’t just shameful, it’s illegal,” said AEA president Brooke Shields.
Dignity for All
Perhaps the most heartbreaking scene in “The Last Showgirl” comes when Shelly attempts to audition for another show. She gives an enthralling, yet technically simple and dated, performance to Pat Benatar’s “Shadows of the Night.” She’s told she’s not good enough, young enough, or attractive enough. This is a worker who must be extraordinary everyday to earn her dignity. Aging, accidental tears in costumes, and fading beauty all figuratively and literally diminish her value.
By organizing with AEA, the Chippendales dancers are fighting back against these manipulative environments that devalue the very workers who are the faces of these entertainment institutions. “We love Chippendales and value being a part of this incredible institution,” said the workers leading the effort. “But we also believe our situation here isn’t keeping up with industry standards. In order to continue providing the world-class entertainment that has always been the Chippendales calling card, we need to have a world-class workplace — and that means fair pay, decent benefits, safety and accountability.”
To support the Chippendales dancers in their effort to unionize, AEA has set up a petition to show public support. In her statement, Shields went on to say
“The Chippendales dancers are incredibly talented professionals who have built the world-class reputation of the company. Now, it pains me to see these men demoralized, but they are not defeated. We call on the NLRB to hold the employer to account. In the meantime, we ask that everyone remind these performers that they’re not alone. Fans of their show and allies from the labor movement alike have their backs, and we need to let these brave performers know we’re all with them!”
Ash Croce is a member of Actor’s Equity Association.
