By J.D. Oxblood

Cinco de Mayo, 2012

WOW Cafe Theatre

As part of our runup to Vegas (the BHOF is right around the corner), I’ve been conducting some interviews, and I’ve noticed that I always end up asking people about the local burlesque scene in their hometowns. I think this stems from two sources—I’m legitimately curious about the scenes with which I’m unfamiliar, but I think I’ve also become envious of the towns who can claim to have “a burlesque scene.” A long Facebook thread last year examined the difficulty Portland was having with a scene exploding at supernova speed, and the growing pains associated, and the concern truly warmed the cockles of my heart. (By the way, what’s a cockle?) I’ve been to Portland, and while it’s a cute, warm, enjoyable town, it is what us Big City folk call, well, small. And I kind of envy them. In New York, to say that we have a “burlesque scene” is betraying the truth—we have dozens of burlesque scenes, all happening on top of one another, and it’s so complex, amorphous and forever-mutating that it is very possible, even if you run a burlesque website and a calendar with a global reach and are invited to shows at a rate of several per hour—it is still very possible to discover that there is a whole ‘nother scene happening right under your nose that you haven’t even heard about.

Which is why Melody and I, hot-off-the-presses newlyweds, went to check out Hypergender Burlesque at the WOW Café.

JZ Bich

WOW is a righteous space, “a women’s theater collective,” per the WOW website, that “has been a majority lesbian woman’s space. WOW welcomes the full participation of all women and transpeople in solidarity with women. WOW especially welcomes women and transpeople of color, and women and trans people who identify as lesbians, bisexual and queer.” In other words, this is a great space for burlesque, and WOW is clearly supporting an independent scene, allowing artists to explore a wide range of performance, from fully-executed, sharpened performances to under-construction, hodgepodge experiments in stripper arts. This is quite possibly the warmest, friendliest place to perform that I’ve ever seen in New York.

My biggest complaint—which I would prefer to get out of the way, rather than saving it for the finale—would be the screamingly non-burlesque 15-minute art-school rerun by Alexander Alvina Chamberland who, according to the program, identifies as “they,” which is offensive to all speakers of the English language, regardless as to gender politics. I think “they” need to study up on performance artists such as Karen Finley, Annie Sprinkle, or even Chris Burden. Seriously, if you’re going to display old-school New York performance art in the East Village, it better be 1981 and you’d better be passing out free junk.

Incredible Edible Akynos

WOW is on the fourth floor, and there’s now an elevator—the collective managed to purchase the building from the city for $1 and is fixing it up. It’s a small blackbox, with ancient frenels in the grid, and a makeshift bar (amen) set up offstage right. Our MC, JZ Bich, opened the show with an act that ran the gamut from burka to nun’s habit to McDonald’s-brand pasties, and Bich described her own identity as “Balkanized,” making it clear that the act was more a starting place than a finishing point. Bich has a slow-motion, unexpected charm, handling the audience fondly, like a small rabbit. I enjoyed her immensely, while at the same time aware of just how NICE this crowd was. She might get eaten alive in a different NYC venue.

But this crowd is here to watch and listen, and no one on stage can do any wrong. The night’s theme is “Un-American,” and all of the performers are from elsewhere. Essence Revealed presented her childhood Barbados traditions, in a loose, talking-point format as she walked us through the preparations, leading up to a fierce stall—due to technical problems—and finally a full-on booty shake to booming Calypso, complete with explanation of the term “ride my riddim,” for those uninitiated in Caribbean culture. Good Bajan fun.

LouLou Dvil

Paaije Flash delivered a prop-heavy (read: dildos) blend of burlesque and sexual performance art that may not have had much to do with her Jamaican heritage, Divina Gransparkle displayed some incredible bodypaint, and the Incredible, Edible Akynos showed us once again that no one can dance quite like her.

Representing quite possibly a different show altogether, or at the very least the far end of the spectrum, were the classic burlesque acts by Canadian Bettina May—lovely and charming as ever—and Finn Lou Lou D’vil, who, as the current “Best Debut” titleholder will be competing for Queen in a few short weeks at the Burlesque Hall of Fame. I was very interested to see Lou Lou in such a small space, since the major pitfall of only seeing international performers at large festivals is that you only see what they can do with a big stage to fill. I was seated in the front row, and was able to watch Lou Lou pace the room like an uncaged animal poured into a form-fitting corset. Pen locked and loaded, I was ready to be underwhelmed, but Lou Lou proved herself even more alluring on the small stage than she is behind a large, well-lit proscenium. When she worked downstage to strike a pose, I was looking her right in the eye, and she held my gaze, held it firm until her music cue sent her careering back upstage, held that gaze like a twenty-dollar lapdance floorworker mentally turning me upside-down to empty my pockets. This girl has talents we haven’t quite had a chance to see, and I’m almost frightened to see what she brings us in Vegas.

Oh, and best intermission ever—free cake, courtesy of kittens Leta Lenoir and Mercedes Matilda. Watch out for WOW, which is sure to become an incubator for boundary-smashing acts.

Kiss kiss,

JDX

All photos ©2011 Melody Mudd. Please respect copyrights and contact melodymudd@gmail.com for permissions. Performers may use shots for promotional purposes, but please credit properly with photographer’s full name and a link to this piece in all instances. Performers who would like hi-rez images, get in touch.

BURLESQUE TO BROADWAY has graciously offered 50% off tickets to all BurlesqueBeat readers.  That’s only $35 for a giant serving of show at the stunning Millennium Theater! Word is that many of our burlesque compatriots saw the show in its Seattle run at the Triple Door, and the producers hope to bring the NYC burly folks out, too.

From the press release:

Experience the art of the tease as critically acclaimed Quinn Lemley stars in her new hit touring production, Burlesque to Broadway. 

Along with sexy sidekicks Natalie Loftin Bell and Stacey Harris — and a smoking 10-piece big band — Lemley takes audiences on a journey from the early days of underground burlesque clubs to mainstream acceptance by the Broadway establishment and beyond.

This unique theatrical concert directed by Tony award winner, Joseph Hardy, honors rule-breaking icons such as Sally Rand, Gypsy Rose Lee, and Mae West, and celebrates their ascent as they danced on the edge of the law, laid bare the double standards of the era, and fueled a movement that would influence divas for the next century.

Despite its cultural relevance, this show is no history class: Song-and-dance fun fill the theater as the as the cast belts out unforgettable hits such as ’Hey Big Spender,’ ’’Let Me Entertain You,’ and “She’s A Lady” while they dance to Merete Muenter’s provocative bump-and-grind choreography. The costumes of Wendall Goings add to the experience, glittering with sequins and flowing with fans, and feathers.

THE MILLENNIUM THEATER is a 1,400-seat venue in the heart of South Brooklyn. This historic space has been outfitted with modern sound, multidimensional computerized stage lighting and giant LED screens making it an ideal venue for large-scale concerts and theatrical productions. The theater and its rich history were recently chronicled in an article in the New York Times. 

BURLESQUE TO BROADWAY

Millennium Theatre, Brighton Beach, Brooklyn

May 18 & 19th at 8pm.

Get your tickets here, and use coupon code (MYUNION) to get the 50% off discount.

By Sean K. Young

Saturday, March 24, 2012

The Joy Theater

As we turned the corner onto Canal Street, the newly renovated Joy Theater was lit up like the proud lady she once was. Originally opened in 1947 as a movie theater, the Joy once stood as a modern marvel among the other downtown theaters. Her glory days were long one by the time I came of age and she permanently shut her doors in 2003. But that bitch Katrina in 2005 really did her in.

A total gut-job renovation last year turned the Joy into a multi-use venue, the quality of which this section of Canal Street has not seen in decades. Reborn is the Joy’s neon sign with its bright letters and the chasing lights above the marquee. The historically accurate outside ticket booth welcomes patrons like a step back in time. There may not be a better venue for big time burlesque in town, certainly not for the Queens of the New Orleans Burlesque Festival.

My anticipation was boiling. I had not seen any of the ladies performing and what a lineup – all three existing Queens were in the house; Perle Noire (2009), Coco Lectric (2010), and Ginger Valentine (2011). Joining them were Lola van Ella, Stormy Gayle, Athena, and our host for the evening, Nathan Kepner with his assistant Morgan Tsu-Raun. The show was accompanied by the Red Hot Jazz Band—a live band always brings a special energy to the evening.

As Nathan took the stage, my first thought was that a boy had gotten into his father’s closet and was playing dress up, but Nathan’s baby face hid a sharp wit and masked an accomplished performer. He and his partner Morgan kept the evening moving with feats of magic, juggling, hula hooping, and humor. Morgan was equally talented and easy on the eyes—I knew several of the audience members wished she was baring all.

Speaking of baring all, the first dancer of the evening was New Orleans native Miss Stormy Gale. Stormy was less theatrical than other burlesque dancers I have seen, but no less entertaining. With looks that could grace the cover of both fashion and gentlemen’s magazine, she can shake, shimmy and gyrate with the best of them.  Dressed as an Arabian princess, she stripped away one wispy veil at a time revealing her spectacular figure.

Once labeled the “Goddess of the Bodice” by a local rag, Athena’s exotic good looks and captivating smile had me mesmerized. Then I noticed she was singing.  This chanteuse has a set of lungs that are not only beautiful to look at, but can really fill a room. Her rendition of “Good Rockin Daddy” was only trumped by her performance of “Love to You,” which in turn was trumped by the removal of her dress.

When Coco Lectric sauntered in, she was a vision of pure glamor. Wrapped in a sumptuous red dress and boa, Coco would have looked right at home on Bourbon Street in the 1950s. With feathers flying everywhere, she peeled off one item of clothing at a time, never losing her boa.  Coco’s majestic performance made me realize how much I like well-done classic burlesque.

As opposed to Coco, Lola Van Ella would have looked at home in 1950’s suburbia as she hit the stage in her cocktail dress and pearls.  Her version of “If I Knew You Were Comin’ I’da Baked a Cake” started off innocent enough, but quickly got dirtier as the clothes came off. Lola whipped off her skirt displaying a derriere to rival Roxie Le Rouge’s and dipped her hot buns into her enormous can of frosting, spreading the white cream all over her … sorry, I lost my train of thought.

I had heard about Perle Noire for weeks. Her tribute to Josephine Baker is world renown, her dancing impeccable and her stage presence is peerless. Even knowing all of that, I still don’t think I was prepared. Perle is built like a brick shithouse and has more energy on stage than I have ever seen. With the power and flexibility of a gymnast, this lady really knows how to hurt. I just sat there with my mouth open in awe as she finished with her modern interpretation of Ms. Baker’s “Danse Banane.” If burlesque is truly about empowering women—which I believe it is—then Perle is leading the charge.

Wrapping up the evening was the reigning Queen of the New Orleans Burlesque Fest, Ms. Ginger Lee Valentine. Ginger’s classical training really shines in her dancing. Like Coco, her performance reaffirmed my love for a classic striptease. Maybe I was born in the wrong era. Thanks to dancers like Ginger, my appetite can be satiated in 2012. Ginger was sexy, playful, gorgeous, and she can work those hips like nobody’s business. Put simply, she is everything good about burlesque. It is easy to see why this queen was crowned.

So, all in all, 2012 is turning out to be a good year. My newfound vice is blossoming and I can’t seem to get enough of the folks that get out there to strut their stuff. I am not sure what comes next, but I am excited to find out.

New to the burlesque scene, Sean K. Young is the managing partner of a New Orleans-based I.T. firm. His creative pursuits are usually in the kitchen or behind the bar, but he is thankful to the New Orleans burlesque scene for a newfound passion.  

All photos ©Tonya Armbruster and used with express permission by Burlesque Beat. Performers may use shots for promotional purposes, but please credit properly with photographer’s full name and a link to this piece in all instances. Performers who would like hi-rez images, get in touch.

by Sandra O’Connell

April 28, 2012

The Wise Hall, Vancouver, BC, Canada

There’s something about watching burlesque in a rickety old theatre that truly tickles my fancy. Built in 1958, the Wise Hall located on a dark, tree-lined residential street in Vancouver has all the charm of an old masonic hall where secret deeds are conducted. In other words, it’s an ideal place to house a salacious burlesque show.

On April 28th, the grand hall hosted the Taboo Revue Burlesque Variety Show, a show presented by the Screaming Chicken Theatrical Association, and featuring more than 20 performers peeling their clothes off in delightfully entertaining vignettes. Note: Heaven all rolled up into two hours.

Burlesque aficionados Evil Bastard and Connie Cahoots hosted the evening, their chemistry so perfectly tuned together that one must wonder if their antics offstage rival those onstage, if you know what I mean. Their shtick for the evening was a scintillating game of strip rock, paper, scissors – a game that everyone must incorporate into their weekly date night. By the end of the evening, as we had all hoped, they were both down to their very scanty skivvies.

After a riveting duet kicking off the night featuring Ava Lure and Goldie Monroe as two jealous sisters, Sweetpea Magee charmed the crowd with her cherubic face dancing to “Somebody Touched Me,” by Ruth Brown. Her body was riddled with handprints and as each article of clothing was removed, another scandalous print was revealed.

Rufflesilkskin got us in the festive spirit by prancing on stage dressed as a tiered cake, ending the performance with sizzling sparklers affixed to her nipple pasties. Daringly delicious icing on the cake for any birthdays being celebrated in the crowd.

One of the highlights of the show, the performance that really got people on their feet clapping, was the Sparkle Pussies’ high energy, head bop-inducing act. There was not a face in the room without a smile plastered on it throughout the show.  Boom Boom Buffet stole all attention in a gold lame bodysuit perfectly hugging her body. With a microphone in hand, devilish twinkle in her eyes, she rapped Salt n Pepa’s “Shoop” better than the original trio. This burlesque beauty is clearly meant for the limelight.

And then there’s Melody Mangler. No words I could use would do her justice. She is ravishing. From her brilliant red hair piled on top of her head to her icy blue eyes to her surprisingly agile 8” stilettos, she is all sex. Her music choice, “Stripped” by Shiny Toy Guns, matched the sensual and futuristic Fifth Element aura steaming off of her. One’s life is never the same after seeing this enigma in the flesh.

We were treated to the rare art of Boylesque with an inaugural performance by the graduating class of Becoming Boylesque – a handsome group of boys with all the makings of great seducers. They had the crowd yelling and catcalling for more, which they certainly gave us when their pants dropped in unison to the floor.

A clear winner of the evening was the group set by the Screaming Chickens that played on Moulin Rouge’s thrilling vibe. Music thumped through my veins with every beat of their hypnotic tambourines. Again, all eyes were on Melody Mangler like a magnet on precious metal.

Adding some comedy to the night was Clare Voyeur, and Buddy Studds’ duet as a pretty sailor seeking her handsome merman. The creative props, costumes and backdrop (crates made believable rocks and a wheelie chair turned into an inventive boat) left no detail untouched in this quirky skit. I’m hoping mermen are real.

April O’Peel is one of those dancers with a permanent cheeky glint in her eye. You really never know what she’s got up her sleeve (or under her bra). She moves like a cat raised on hip hop, each gyration and shake natural to her body. She even did the worm… enough said.

One of the hottest numbers was Blush Lane and Sweetpea Magee dressed as wild cowgirls battling it out in a gunfight and arguing over each other’s clothes, each aggressively ripping the other’s garments off. Every man’s dream was being enacted on stage live… I hope one of them got it on video.

It was a Revue where all kinds of fantasies came to light, where voices were lost due to screaming, where hands were numb from clapping. My calendar is currently being marked in countdown until the next Taboo Revue in September.

Captivated by the world of burlesque, Sandra O’Connell is no stranger to the Vancouver scene. In addition to weaving burlesque into words, she is a freelance writer for a variety of publications covering fashion, travel, lifestyle and culture. Find Sandra on Twitter or at her personal blog.

All photos ©Baron S. Cameron, and used here with permission. Please respect photography copyrights and do not use images without obtaining explicit permission.

A Weekend of Nekkid Ladies with the Storyville Starlettes and Fleur de Tease Part 2

By Sean K. Young

Sunday, March 4, 2012

One Eyed Jacks

By the time Sunday evening rolled around, I was in that “Do I really feel like leaving the comfort of my couch” mood, but Tonya started calling at like two in the afternoon – I swear. I am glad she did because Fleur de Tease was simply awesome.

The amount of production that goes into a Fleur de Tease show is extraordinary. Not to take anything away from other troupes, but this just seemed a cut above. The fact that it is in One Eyed Jacks does not hurt. Jacks is set up for this type of show – more theater with a bar than the other way around – a stark contrast to last night’s show at the Hi Ho. It also says something about the troupe that it was a packed house for the early show and I counted no less than five professional photographers in addition to our very own TA.

Chris Lane served as our zoo keeper for this brand new animal-themed show from FDT. He transported us into the zoo after hours and kept the ball rolling with his quick wit and infectious energy.

Natasha Fiore

As if we were walking into the actual Audubon Zoo, the first thing we see is pink flamingos portrayed by Trixie Minx, Madame Mystere, and Natasha Fiore. This short number danced to the theme song from “Three’s Company” was fun and creative – the perfect opening act. Up next was one of my favorite dancers, Roxie La Rouge as a baby panther. This girl is so sexy it is just wrong. Normally I am more of a dog person, but I would let this stray kitty follow me anywhere. Roxie coquettishly worked the audience as she wagged her tail around the stage.

This was my first time seeing several of the performers; Ooops the Clown, Sarah the Bobcat, and Niki Frisky, all members of the Mystic Pony Aerial Troupe. Ooops’ was the first of the ladies’ solo acts strutting around the stage as a shimmery winged parrot dropping her plumage all the while. Sarah the Bobcat was stunning on the trapeze as…wait for it…a bobcat, and Niki’s hips swiveled so fast on her monkey hoop routine I thought she would throw her back out. The three of them ended the evening with a high flying silk routine.

Another first for me was Michael Dardant. Mike has been around a long time, normally known as Magic Mike, but Cajun Mike the swamp tour guide was in the house this evening. With a thick Cajun accent and a pet skunk Pepe, he knew how to pass a good time, even if his jokes were older than some of our plantations.

Having just seen Natasha and Mystere the night before at the Hi Ho, it was impressive to see them in complete different numbers for the FDT show. Natasha was a site to behold dancing in a provocative pachyderm costume eventually disappearing behind an onstage tent only to reemerge as a Vegas showgirl.  Madame Mystere had two solo acts, one as a titillating zebra slowly peeling off her stripes in a steamy striptease and the other as Louisiana’s own white alligator. She crawled along the ground chasing Mike our swamp guide off the stage and ultimately dismembering him, a move both disturbing and exciting at the same time. Evidently, Cajuns have sequined blood. Even in a mask that covered half her face, Mystere looked beautiful. This girl is gorgeous in a way that your lady will give you props when she catches you looking.

Trixie Minx

The two FDT routines that blew me away were – as they should be I suppose –  performed by Trixie. Folks must have thought Trixie had lost her mind when she said she would dance as a tortoise and they knew she was nuts when she donned her outfit. Underneath the tortoise shell, she was dressed like a street urchin from a Dickens’ novel. Damn if I know how she did it, but Trixie made it work. She started by eating a piece of lettuce for four and half days, then crawled out of her shell, blew dust off of herself and removed an old sweater. That’s it. And it was fucking magnificent. I swear Chris Lane was crying.

For her second number, Trixie danced as a shrouded cobra never revealing her face. This was a sensuous striptease in the finest sense. Trixie is simply in a league of her own.

It was one hell of a weekend and I am sooooooo happy I got my ass of the couch on Sunday for Fleur De Tease. A big thanks to all of the ladies and gents that made it so entertaining. Until next time, good night.

New to the burlesque scene, Sean K. Young is the managing partner of a New Orleans-based I.T. firm. His creative pursuits are usually in the kitchen or behind the bar, but he is thankful to the New Orleans burlesque scene for a newfound passion.  

All photos ©Tonya Armbruster and used with express permission by Burlesque Beat. Performers may use shots for promotional purposes, but please credit properly with photographer’s full name and a link to this piece in all instances. Performers who would like hi-rez images, get in touch.

A Weekend of Nekkid Ladies with the Storyville Starlettes and Fleur de Tease Part 1

By Sean K. Young

Saturday, March 3, 2012

The Hi Ho Lounge

Mardi Gras was over and the hangover was gone. After weeks of parades, booze, and general depravity, it took some serious recoup time – at least 3 days. After a weekend of early bedtimes and cleaning out my liver, by the following Tuesday I was itching for some entertainment, and what better way to scratch that itch but the fine ladies of New Orleans burlesque.

It was to be a busy weekend. Saturday night the Storyville Starlettes presented a Pisces Party celebration of all things under the sea! Sunday evening I was to go to my first Fleur de Tease show. I was seriously stoked for both.

Claire de Lune and Madame Mystere

The Starlettes show was at the Hi-Ho Lounge on St Claude, a fantastic dive bar in a not-so-fantastic neighborhood. It is not “murder on the corner” bad, but it does tend to be suburbanite and tourist-free.  The Hi-Ho’s smallish stage makes for an intimate setting, but don’t be fooled – the joint packs folks in 3 – 4 nights a week for anything from Cajun punk, gypsy jazz, New Orleans brass bands, to spoken word and of course our fave – the girls of burlesque.

The place was sparse when we arrived, but a lively crowd started to trickle in quickly as show time approached. By the time our host Michael Miller took the stage, the place was jumpin’. Michael‘s ballsy and raw humor sets the tone for the evening of undersea adventures. Newcomer May Hemmer started the show with a sultry, classic striptease in her jelly fish blues act followed by a playful number from Isis Rogue splishing, splashing and dancing in a bathtub.

Claire de Lune and Madame Mystere had quite a different take on the Little Mermaid. The corruption of Claire’s Ariel by Mystere’s Ursula was good naughty fun. The evening continued on with more sea-referenced numbers; Cherry Brown wrapped in seaweed peeling off one sexy layer after another, Natasha Fiore’s Love Boat number bringing back childhood fantasies of Julie McCoy, May in a fast paced surf routine and Claire taking us “Beyond the Sea” as our host dressed as a hungry shark tried to eat her tasty bits.

Natasha Fiore and Madame Mystere

The evening also featured Kali, whose tantalizing fan dance left me wanting more – though I have to say, as enticing as her curves were, I could not stop myself from staring at her ink. The dragons on her back moving in rhythm to the music were hypnotic.

Madame Mystere and Natasha Fiore stole the show when they performed what may be the hottest routine in New Orleans burlesque – strip poker set to Tom Wait’s “Cold Water.” Two gorgeous women dressed as pirates playing cards – cheating of course – taking off one delicious garment at a time – what could be better.

Then the show got weird, in a good way, but weird nonetheless. Cherry danced to Lyle Lovette’s “Penguins” and turned what I thought was going to be ridiculous into a crazy entertaining dance, only to be upstaged by the penguin in the end. Wrapping up the evening, Isis and May gave us a piece that I can only describe as hentai performance art. A strangely sexy tentacle faced sea monster took on a scantily dressed school girl complete with the requisite revealing uniform. It was a Manga fan’s wet dream.

The Hi Ho may not be for everyone – but some people just don’t know what they are missing.

New to the burlesque scene, Sean K. Young is the managing partner of a New Orleans-based I.T. firm. His creative pursuits are usually in the kitchen or behind the bar, but he is thankful to the New Orleans burlesque scene for a newfound passion.  

All photos ©Tonya Armbruster and used with express permission by Burlesque Beat. Performers may use shots for promotional purposes, but please credit properly with photographer’s full name and a link to this piece in all instances. Performers who would like hi-rez images, get in touch.

While BqB never claimed to be a news site, it would seem unfitting to fail to print news when it happens. Today, somewhere around noonish, the lovely and wonderful Ms. Melody Mudd took J.D. Oxblood’s hand in marriage. The editors would like to quote Doc Wasabassco, who said at a show on Friday attended by J.D., Melody, and their family and friends, “I don’t recommend it myself, but they seem to like each other.” That they do. The editors would also like to apologize for not remembering the credit for the above photo (taken in Vegas at the BHOF 2010). Photos of the actual wedding ceremony were not available at press time. The happy couple are looking forward to celebrating wildly with their friends this evening, and eagerly anticipate celebrating with the rest of their friends in Las Vegas later in the month. While no one can speculate if it was truly burlesque that brought them together, it is undeniable that this community has greatly enriched their lives, and their life together.

Kisses,

J.D. Oxblood & Melody Mudd,

a.k.a. Mr. and Mrs. Muddblood

by Tonya Armbruster

Thursday, March 29, 2012

The Noc Noc, Seattle

A few weeks ago, I was afforded the opportunity to shoot my first burlesque show outside of New Orleans, and was very excited to see what the Seattle burlesque scene had to offer.  The girls of Sinner Saint Burlesque – the longest running burlesque troupe in Seattle – did not disappoint.  Home for the girls’ weekly show is the candlelit, gothic cathedral-esque Club Noc Noc that is apparently famous for its tater tots.  My neighbor in the audience insisted that I try some, and I have to admit that they were pretty fantastic!

The title for the evening’s performance was “Behind the Pasties”, a mockumentary our host for the evening dubbed a “burlesqueography.” Diva la Deviant led us on this journey through the girls’ past, answering questions from the “interviewer” (sound/light technician Iman).  It was a very entertaining production, and a clever way to present a cohesive theme while allowing the girls the flexibility to express themselves as individuals.

Unfortunately, my talents do not extend to writing, so I’ll simply allow the photos (and girls!) speak for themselves.  Allow me to just say that I thoroughly enjoyed the sultry and often comedic expertise exhibited by the girls of Sinner Saint Burlesque, and especially appreciate the time that Evilyn Sin Claire and Polly Wood took to speak with me after the show.  Here’s hoping that they make it down south in the near future so that I get the pleasure of seeing them perform again!

The Sinner Saint Burlesque Revue is every Thursday at Club Noc Noc.

All photos ©Tonya Armbruster and used with express permission by Burlesque Beat. Performers may use shots for promotional purposes, but please credit properly with photographer’s full name and a link to this piece in all instances. Performers who would like hi-rez images, get in touch.

April 1, 2012

Revival Bar, Toronto

April Fool’s Day brought out the burlesque community for a unique fundraiser that only the Toronto Burlesque Festival could throw – Strip Search 2012!

Twelve contestants gathered at the Revival Bar in Toronto’s Little Italy to compete for a chance at performing in the upcoming festival in July – now in its 5th glorious year. Judging was fierce and included industry icon and first inductee into the Canadian Burlesque Hall of Fame Tanya Cheex, past co-winner Dew Lily of Boylesque T.O., Legend of Canadian Burlesque Irish Mist, and celebrity judge Naked Toni from the Naked News.

Bianca Boom Boom

This year, I was busy helping with fundraising for the festival in my own way with my new Glaminista Photo Booth – getting audience members involved in the energy and glamour of the evening with on-the-spot portraits complete with feather boas, fascinators, and bling. Thanks to the shoutouts from our emcees Great Canadian Wolfman and Sexy Mark Brown, we had a steady stream of eager victims…. er… models all helping us raise funds in a fun way.

Luckily, I was able to catch some of the main event during breaks and shot some of the best competitors I’ve ever seen. Talk about fierce! The competitors were:

• Skaii Walker the Nerdy Stripper

covered in beautiful tattoos, she performed a striptease as a Star Wars stormtrooper

• Melody Merlot

serenaded us as Marilyn Monroe with a campy “Surgeons Are a Girl’s Best Friend”

• El Toro

amazed with his gender-bending hot, hot, hot striptease

• Bianca Boom Boom

brought us some fantasy with a Queen of Hearts from a burlesque Wonderland

• Eve of Destruction – Audience Choice Winner

Skaii Walker

blew everyone away with her stripping mummy

• Charlie Quinn – Runner Up

went classy with a hot jazz act

• Natalia Rose

one of the best pole dancers in the city did not disappoint

• Dr. Tease

worked backwards with his very revealing reverse strip

• Pastel Supernova – Winner

Latin striptease was never so hot

• Constance Provokes

showed that burlesque and hard rock can work in harmony

• Willy Wonder

showed some ingeniously sensual uses for masking tape

• Liv Vicariously

had some real devilish potential

All the contestants were amazing and it was a really tough vote. I’m glad I wasn’t one of the judges and only had to submit my vote for the Audience Choice award! It was a fabulous night dotted with great performances by some of our favourite performers – Montreal’s amazing Lady Josephine, Mysterion, Honey B. Hind, Coco Framboise, Miss Mitzy Cream, DD Starr, Sauci Calla Horra, Sexy Mark Brown with Foxy Finale and a special performance by the gents of Boylesque T.O. paying homage to their Canada’s Got Talent audition. Not only was the event produced by Toronto’s premier mentalist Mysterion, but he also performed his mind-blowing feats for the audience throughout the evening.

This event could not have been possible without the tireless efforts and talent of the Toronto Burlesque Festival Producters and Advisory team: see the full list of amazing talent and their bios HERE.

Looking forward to seeing the winners of the evening try top their performances at the festival in July!

Olena Sullivan (Photolena) is a Toronto-based model and performance photographer who specializes in onstage burlesque photography. All photos ©Olena Sullivan-Photolena and used here with permission by Burlesque Beat. Performers may use shots for promotional purposes, but please credit properly with photographer’s full name and a link to this piece.

BB Heart

by J.D. Oxblood

Friday, March 9, 2012

Parkside Lounge, Lower East Side, NYC

“Ya want some fries with our shakes?”—reads the excellent tagline, touting “now the ONLY show of its kind in New York’s nightlife,” an only slightly-cloaked reference.  I’ve talked before about the similarities between the scene percolating over at the Parkside Lounge and the former BQ HQ The Slipper Room. The producers vying at the Parkside are trying, though the vibe is differentiated by the division of space—at the Slip, the action at the bar always threatened to overtake the stage, and even the semi-privacy of the back tables was intruded upon by the rancor pouring from the stage. The Parkside shows are in the back room, so it only gets sloppy when the patrons do, and the dive-bar ethos of the front room evolves unfettered, the patrons swilling PBRs and playing trivia with impunity, possibly unaware there is a show going on mere feet away.

New York is change. (And stasis, if you take the long view.) No one really knows what will become of the Slip, but the rumors are flying, and if it’s true that Habacker sold the building, it’s a 50/50 coin toss whether the venue—when it does reopen, and in true Gotham fashion, it’s overdue—will become a high-class successful performance venue like Galapagos, which will almost certainly need high cover charges to accompany the high drink prices, or if the New Slipper Room will quickly become Something Else—the kind of place the Ruling Class like to hang out in when slumming the “El-Ee-Es.” Time will tell, and in case you haven’t been paying attention, time is a bitch.

Meanwhile, we have the Parkside, and shows that keep the old downtown rough-and-tumble flame alight, like Drive Thru Burlesque. I don’t know what the name is about, but to me, it’s instructional: the best way to taste is actually to drive through—pop in for an hour, pop out to blow a joint, pop back in as the next producing team takes over, pop across the street for a slice, and overall, get fucked up, get riled up, and get off. 

Iris Explosion

Drive Thru is produced by the inirascible Sizzle Dizzle and Lefty Lucy, who’s on tour, lending us the stand-in Clams Casino, who looked stunning in a long, bright orange kimono, and spent the evening camped stage right, refusing to take it off. For a show opener (the “Early Bird Special”) we got the always-terrifying Iris Explosion, who was introduced as “the Mimic Octopus of Burlesque”—this is bone-crushingly high geek factor—and wrapped a strip around a game of Mousetrap, removing her clothes to find the pieces hidden about her body and assembling the board piece by piece. (The diving man was in her ass, natch.) I’m still trying to figure out what Mousetrap has to do with Santa Esmerelda’s “Please Don’t Let Me Be Misunderstood,” better known as “That hand-clapping song from Kill Bill.” I can’t believe that I.E. would have picked it arbitrarily.

Anyhoo, let it wash, it’s only the first act, and you’re gonna be here for hours, drinkin’—and here’s Lil Brooklyn, doing her Richard Simmons workout act—lower geek factor, but still, I wondered how many youngsters in the crowd know who R.S. is. Was? Is he dead?

Intermission means gogo, and we were treated to the bendy styles of Briana, aka Bendy Bri, a cutie who probably wasn’t even born yet in the 80s but is rocking the half-long, half-cropped 80s do, some killer-cute zippered platforms, and a stellar ass.

Adam, the First Real Man

On to Act II, the Chef’s Choice, which tonight is all about Coney Island, and hosted by Adam the First Real Man, who lights a stack of cigarettes and eats them, dousing each on his tongue. He proceeds to pimp the upcoming Webster Hall show (March 24th—you should check it out) throughout his Borscht Belt patter, and brings out Sizzle Dizzle for her fantastic Ms. Pac Man act, and BB Heart for her “naked” strip.

The other true Coney Sideshow regular in attendance is a longtime crush of mine, the wonderfully skilled fire eater named Insectavora (something about the facial tattoos inspire obvious sexual fantasies). No fire tonight, instead we’re treated to Insectavora’s take on boxed magic tricks (such as the multiplying bottles), nevertheless entertaining due to Insecetavora’s irresistible charm. The girls’ got patter, she feigns guilelessness well, and damnit, she’s cute. We also—later in the show—got to see her do a human blockhead act, and while the sinuses are never my first choice for insertion, I’ve never seen anyone do a claw hammer extraction with such charm.

Adam the First Real Man stuffs his mouth with dental floss and a stack of double-sided razor blades (the ones that look like movie tickets and are seriously infamous if you’ve spent any time in Bangkok), and proceeds to work his mouth to the music (Adam loves his mouth) and spit a string of blades, tied neatly to floss.

Insectavora

And heating the room to the boiling point is BB Heart’s excellent black fan dance to a searing Spanish soundtrack, the “Gasolina” -inspired booty shake that blew the beach away and earned her the title of Miss Coney Island. May her reign shower us all with glitter.

Overall, the challenge for Drive Thru—like any show—is to get more people Driving Thru. We could have used some more people in the room to truly light it on fire, and the slovenly crowd in the main bar weren’t joining in. The past always seems nostalgic, but remember that half of what made the Slipper Room such a success were the dickwashed douchebags that swung by to howl, heckle and hurl in the basement bathroom. We need fuckwads like them. If I were tossing out suggestions to the producers, I’d say, Get more girls, keep the gogos rotating like mad (a louder crowd will bring people in from the next room), and consider the Subcontractor Solution: an hour-long show here, an hour-long show there, maybe with completely different producers and casts, casting a wider net in getting people in the door.

And if I were offering suggestions to the audience of New York, I’d say—you people need to get out more.

Kiss kiss,

JDX

The next Drive Thru Burlesque is on Friday, April 27th, from 11pm-3am.

All photos ©Peter Marquez for Burlesque Beat. Performers may use shots for promotional purposes, but please credit properly with photographer’s full name and a link to this piece. Those who would like hi-rez images, please get in touch.