Friday, January 25

This week’s top pick can be filed under the category “it was only a matter of time”. An Evening at Merlotte’s: Burlesque Inspired by True Blood will take place Friday, January 25 at the Highway 99 Blues Club. One could get a little dizzy pondering the myriad ways the hit show might be re-purposed… the unholy couplings that might transpire… gratuitous sex and supernatural violence involving beautiful trashy people that look perpetually humidified… all we can say is the Highway 99 Blues Club better prepare for some bloodletting, and then some.

An Evening at Merlotte’s- January 25. (Photo by Jackie Kingsbury)

Click HERE for tickets to either the 7pm or 10pm shows, and here’s a little detail straight from the listing: “An Evening at Merlotte’s is an immersive experience involving many of your favorite performers as they encapsulate the normal and not so normal citizens of Louisiana, Mississippi, and beyond!”

Brought to you by Smooches and Science Presents in accordance with Lady Laycock and starring:
Aaron Brown as Tara Thornton
Al Lykya as Jason Stackhouse
Sir Eddie Van Glam as Bill Compton
Jesus la Pinga as the Reverend Steve Newlin
Lady Drew Blood as Pamela Swynford de Beaufort
Lady Laycock as Sookie Stackhouse
Lord Richard Longfellow as Sheriff Andy Bellefleur
The Luminous Pariah as Lafayette Reynolds
Miss Elaine Yes as Lorena Krasiki
Palmer Southern as Eric Northman
Scarlett O’Hairdye as Russell Edgington
Seraphina Fiero as Maryann Forrester
Shubzilla as Shubzilla
Stella D’Letto as Nan Flanagan
Tootsie Spangles as Arlene Bellefleur
Violet Tendencies as Jessica Hamby
Hosted by Vanadium Silver as Sam Merlotte

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As for our other, most honorable of mentions of the week- here’s the roundup:

Thursday, January 24

Sinner Saint Burlesque debuts much-anticipated experimental show Long Kiss Goodnight this Thursday at Noc Noc. With this run the troupe intends to take their sweet, sweet time- allowing the audience to luxuriate in a slower form of striptease harkening back to the days when top peelers routinely performed acts which clocked in around 20 minutes. Burlesque in this format had a way of lending an air of intimacy and anticipation to a performance that some argue has been lost in our grab-n-go culture. Will Sinner Saint’s modern twist on a vintage format keep the savages at Noc Noc slack-jawed with rapt attention? You’ll just have to show up and see.

Long Kiss Goodnight guest stars Cherry Manhattan (who we hear wrote the narrative bits as well) and features Sinner Saint’s Jesse Belle-Jones, Polly Wood, Evilyn Sin Claire, Lady Tatas, and Doña Dei Cuori. Sinner Saint Burlesque performs each and every Thursday at the Noc Noc: 1516 2nd Avenue (downtown Seattle between Pike and Pine). Doors 9pm, show 9:30 every Thursday (happy hour ends at 9pm). To reserve seats, email info@sinnersaintburlesque.com

Long Kiss Goodnight opens January 24 (Photo by Danny Boulet of WittyPixel Photography)

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Saturday, January 26

Catch a double feature with a quick change between early and late burlesque shows:

Return to WinterWood takes place at 6:30pm at Re-bar, and features some stellar performers with a dark side. “The woods are as dangerous as they are beautiful” says the event summary, and we don’t doubt it one bit with otherworldly performers such as La Petite Mort, Olatsa Assin, Tamara the Trapeze Lady, and The Luminous Pariah. For tickets, click HERE.

More the Merrier: An Alumni Spectacular over at West Hall (Oddfellows Building) begins at 9pm, also Saturday night. Daring duets, gargantuan groups, and mouth-watering multiples are the name of the game with this curated bunch of Academy alumni. The show is hosted by Gams Galore and features very special guest star Sydni Deveraux. Get tickets, lineup, and more information by clicking HERE.

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Last, we give you a sneak peek/early warning for a March 1 show you won’t want to miss featuring heaps and heaps of silky smooth manflesh- tickets go on sale at noon tomorrow (January 22) for Boys! Bois! Boyz!, which will star very special guest Jett Adore of Chicago’s legendary Stage Door Johnnies.

Jett Adore at BHoF 2011 (POC Photo)

DO NOT MISS IT!

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Finally, apropos of nothing except my editorial whims… we give a tiny nod to visiting flashy pop-showgirl Lady Gaga, who gave good show at the hideous Tacoma Dome last week. If anyone’s music can make that death trap/tin can venue sound good, it’s Gaga. Plus, she of course had costumes and sets that would make most burlesquers drool. (Meat sofa, anyone? I kept thinking Wiggy Stardust was about to commandeer the stage). Check out these pix, and read my “off topic” review in the current issue of Seattle Gay News if you’re so inclined. Heavy Metal Lover, indeed. Have a great week, everyone.

Will she bring back bathing cap chic? One can only hope. (Photo courtesy of Livenation & PictureGroup)

Oh yes, she did. (Photo courtesy of Livenation & PictureGroup)

The set of the Born This Way Ball (Photo courtesy of Livenation & PictureGroup)

The Rendezvous Jewelbox Theater, 2322 2nd Avenue, Seattle

Reach back- way back- into Seattle entertainment history and you’ll find that many roads lead to The Rendezvous. The multipurpose space, which featured a screening room, restaurant, and basement speakeasy, was opened by B.F. Shearer in 1927 in the midst of Prohibition. The screening room was of particular importance at that time, as Seattle’s “Film Row” was based in a stretch of roughly two to four blocks along First and Second Avenue (between Bell and Wall streets). The area was something of a deal-making hub: Hollywood films were screened and regional distribution and bookings were negotiated through branch offices of studios like MGM and Paramount Pictures right in the neighborhood. Remarkably, the tiny Art Deco theater known as the Jewelbox would outlast not only the glory days of Film Row, but many of the surrounding neighborhood landmarks.

The Rendezvous went through many owners and incarnations (including porn theater and dive bar where sketchy characters and ironic hipsters rubbed elbows for a time in the late 90s) before finding new life as a bad juju-free, beautifully renovated lounge and showroom. In 2002 new owners Jerry Everard, Jane Kaplan, Tia Matthies, and Steve Freeborn reopened the struggling location hoping to preserve history and revive the unique multi-use venue where artists of all types could once again take up residence. (Between them, the four had ties to the launches of other legendary Seattle venues such as the OK Hotel, the Crocodile Cafe, and Capitol Hill’s Moe).

The boutique theater inside The Rendezvous is one of the best known (and sometimes under-appreciated) weapons that Seattle has in its flourishing performance community. The miniature stage provides a proper setup and cozy seating where fledgling performers and producers can hone their skills and learn how to put on a professional show. More burlesque performers and troupes have started at the Jewelbox than anywhere else in the city. As some may recall, the theater was once home to Academy of Burlesque recitals before they simply grew too large to be contained there.

Shanghai Pearl at Shake Your Bon Bon 12/12/08 (POC Photo)

Last summer Jane Kaplan, who has overseen booking of the Jewelbox since the early days, shared some memories of the tiny venue’s hefty impact on Seattle burlesque:

Jessica: Could you share a little historical background on the Jewelbox…?

Jane Kaplan: [with historical content by Gregory Baxley] During the 1920s Belltown became the center of the film industry in the Pacific Northwest, as all of the major studios had distribution centers called ‘film exchanges’ along Second Avenue. The area was known as “Film Row”, featuring home offices for MGM, United Artists, Universal, Columbia, RKO, Paramount and Warner Brothers. The 60-seat Jewelbox Theater was constructed as an industry screening room in 1927. This was the dawn of classic cinema, as talkie films quickly made silent cinema obsolete. Local distributors and visiting directors and actors used the Jewelbox for executive private screenings, and customers wishing to build their own theaters could visit the Box to see a scale model. Jimmy Stewart screened movies in the cozy Jewelbox, alongside many other stars and starlets of the day. During Prohibition, the cave-like basement lounge, now dubbed the Grotto, was home to a free-flowing speakeasy, while burlesque stars graced the small stage upstairs. The high profile nature of the venue remained intact through mid-century, but as the Golden era of Hollywood began to fade, so did the neighborhood.

By the late 1960s, then co-owner Bill Rausch turned the basement into a card room, and renowned comedian and gambler Jimmy Durante showed up frequently. The city wasn’t pleased and eventually shut down the business for a number of years. By the late-1970s Film Row had died, and many of the staple structures were either torn down or abandoned. The Jewelbox Theater is the one remaining screening room in the neighborhood.

Ten years later the Rendezvous revitalized itself with a dive bar mentality, catering to both film and music crowds. Complete with smoke-stained ceilings and walls covered in grime, it reflected the decaying nature of the neighborhood. In 1990 the Jewelbox Theater functioned as the only legal place in the state of Washington where you could both drink and watch a movie on the big screen. Then as the grunge era took over the country, and Seattle was once again thrust into the spotlight, many young music acts took solace between its red walls. It was a diversified rock venue, complete with bar, stage, loft and grotto. The venue has since been featured in an array of films and documentaries, hailed as a defining site for the Seattle-led music industry takeover that lasted throughout the decade.

In 2002 the new owners moved in, working to keep the neighborhood heritage alive. Belltown was again an upscale kaleidoscope, a microcosm of the culture of the nation in a single neighborhood. In restoring the place [Steve Freeborn, Tia Matthies, Jane Kaplan and Jerry Everard] worked to retain the Rendezvous’ red-velvet flavor in every room, including the theater, lounges and private Grotto. While stripping the outer layer of the building’s interior walls, near-mint, vintage wallcoverings were discovered. Restored to its original 1927 condition the Jewelbox Theater holds up to 65 guests and has in place a professional
standard PA system, stage lighting controls, and a performance stage ideal for plays and cabaret shows.

Jessica: Who did the earliest burlesque shows there?

Jane: The very first burlesque-type performers in the Jewelbox were the Rollvulvas. They were great and were truly the first before the resurgence…the forerunners to the resurgence. See this article to learn more about them: http://www.seattlepi.com/ae/article/Rollvulvas-Belles-Bloom-is-odd-but-curiously-1086245.php

Then came Burning Hearts. Cleo [Petra] really helped build the community by bringing in multiple artists from lots of different backgrounds…unlike the Rollvulvas, who were a set group of women that always performed together.

Jessica: How have things evolved over time in terms of the room’s relationship with burlesque, drag, and other types of performance?

Jane: So many fabulous performers have come through our doors. We’ve grown with the entire community as it has discovered itself. We’ve had films and television about burlesque filmed there. We’ve had the stars of the current Seattle burlesque scene start on our stage: Indigo Blue, the Atomic Bombshells, Polly Wood, Shanghai Pearl, and more. We’ve been the hotbed of the resurgence and a place where people come to hone their craft and grow. And this relationship continues. Some of the artists that have appeared on our stage outgrow us…which is very exciting. And some still like to call our stage home and use it, because of its intimate nature, to experiment with new ideas or productions.

Shanghai Pearl’s dressing room autograph (POC Photo)

Jessica: The room has certainly been a hospitable place and ideal stage for new performers to hone their skills and learn technical “how to’s” on staging events. In fact, I often prefer seeing shows there to larger, not-so-ideally-suited venues in town. Can talk a little about the role the Jewelbox plays?

Jane: There are so few places in Seattle that provide what the Jewelbox provides. We really try to work with all kinds of performers to help them reach their goals as individual artists. This is why the room is so versatile from being able to show films to music performances, fringe theatre productions to cabaret and comedy. We try to have it all available at a very reasonable rate so that the money never gets in the way of the artists ability to create, imagine and experiment. This, we feel, is very important…providing a fully functioning theatre, music venue, film screening room, you name it; creating a comfortable and low-risk, artist friendly space so the performers can concentrate on their
craft.

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Here is a gallery of some of POC’s favorite photos taken at the Jewelbox over the years:

Shanghai Pearl at Orchestra L’Pow 5/3/08

BenDeLaCreme at Shanghai’s birthday show 9/10/08

Hanging out at the Jewelbox (Mercury Troy, Lady Tatas, Daniela Dee & Jesse Belle-Jones)

Waxie Moon at Smell The Glove 1/23/09

Wiggy Stardust at Stripped Screw Burlesque 7/3/10

Black Cherry at Tempting Tarts Burlesque 7/24/10

Jezebel Vandersnatch at Tempting Tarts Burlesque 12/30/10

Violet Tendencies & Trojan Original at Disney After Dark 6/18/11

Paris Original & Lord Richard Longfellow at Disney After Dark 6/18/11

Sailor St Claire at Tempting Tarts Burlesque 3/7/12

Kylie Koyote at Tempting Tarts Burlesque 3/7/12

Roxy Ruby at Tempting Tarts Burlesque 4/20/12

The Luminous Pariah at Paul Phillion’s Birthday Bash 10/27/12

Ernie Von Schmaltz giving Birthday Boy Paul Philion a lap dance, with Belle Cozette-10/27/12

Cherry Manhattan and Sinner Saint Burlesque in Long Kiss Goodnight, through March 14 (Photo by Danny Boulet of WittyPixel Photography)

Sinner Saint Burlesque’s brand new run Long Kiss Goodnight has effectively scrapped the notion that less is more. The focus of the show is a lofty one by today’s standards- taking burlesque acts commonly delivered in a punchy 3-6 minutes, and stretching them out to roughly 10-12. Though headliners in burlesque’s heyday often clocked 20 minutes of stage time, a full-scale tease isn’t usually done in most variety formats (although Waxie Moon mounted his 17 minute endurance strip “Boléro” last summer, and I’d wager Indigo Blue and Lily Verlaine are ladies not ruled by timepieces).

Longer length acts sound like an intriguing idea for a new direction, but… would it work? Noc Noc’s mishmash of walk-ins and bachelorette parties aren’t known for forgiving attention spans, and though the room is always dotted with aficionados they’re usually outnumbered by folks equating burlesque with partial nudity and not much more. At times Sinner Saint’s artful narratives and plot forwarding devices have strained against the rowdy Thursday night crowd; this time however, they watched both eagerly and attentively (with maybe just a pinch of confusion). Most triumphantly of all, the ladies of Sinner Saint delivered a well-balanced and clever show.

Long Kiss Goodnight is essentially four performers in four lengthier acts, ending with Sinner Saint’s hallmark group finale. Cherry Manhattan’s effervescent hosting buoys the narrative along (incidentally, she wrote it as well) as she plays the role of a tipsy aristocrat with pleasantly loose morals hosting a party. The soiree’s era is of indeterminate origin, but vintage styling, some light accents, and booze are free-flowing. Cherry sheds more and more clothing as the “party” continues; as her inhibitions disappear she guides us through the four acts.

The extra time suited the ladies well, particularly Polly Wood, who was able to luxuriously develop her Elizabeth Taylor act into several different Liz’s with aplomb. Jesse Belle-Jones performed a multidimensional act based on Greek mythology that wouldn’t have carried the same weight had it been crammed in a shorter time frame. Entering with a stag’s head mask and spindly “legs”, she slips in and out of the roles of huntress, prey, and the goddess Artemis, jarring the audience but without a trace of heavy-handedness. (Her movements were inspired in part from a clip of Canadian-born Marie Chouinard she’d seen on YouTube a year ago, she told me later). Doña Dei Cuori’s faux-prim affectations were whisked away with a suggestive Prince soundtrack, and Evilyn Sin Claire used her commanding physicality and searing eye contact to turn up the heat whenever she appeared.

Though narratives can be difficult to execute in a form as “mindfully spontaneous” as burlesque, this one puts the emphasis on the acts by leaving a looseness to the show- the performances encouraged by the skillful narration, but not bound by it. As for the longer stage time, there was very little filler to draw out the acts, and that made those long Noc Noc intermissions a little easier to bear. However, intermission was just long enough for me to eavesdrop on some girltalk….”Wow, they have real bodies…” and “Every one of them is so confident, I don’t even know how they do it. Wish I could be like that…”

Sinner Saint Burlesque’s Long Kiss Goodnight runs every Thursday night at Noc Noc until March 14.

Last week’s Late Night Revue at Can Can (Wednesday, February 6) was a much-talked about event featuring some top-notch talent. The show’s namesake and producer Boom Boom L’Roux has done an exemplary job of creating an exciting new late night variety show and building a reputable name for the series. Each event features a rotating cast of performers, musicians, and surprise guests from all over; last week’s show was no exception. Vancouver’s Lydia DeCarllo (who studied at the Vancouver Circus School) appeared along with belly dancer Bella Jovan, Randi Rascal, musician Gus Clark, MC Miss Adra Boo, and Boom Boom herself.

Here are a few shots by POC- heroically delivered despite the notoriously hard to shoot Can Can stage (it’s extremely fun to see an intimate show there, but not so very easy on photographers).

The next edition of Boom Boom L’Roux’s Late Night Revue will be Wednesday March 6 at Can Can.

The evening’s MC, Adra Boo

Randi Rascal (POC Photo)

Randi Rascal (POC Photo)

Randi Rascal (POC Photo)

Belly dancer Bella Jovan (POC Photo)

Bella Jovan (POC Photo)

Bella Jovan (POC Photo)

Bella Jovan (POC Photo)

Lydia DeCarllo in a tribute to Rita Alexander, the Champagne Girl (POC Photo)

Lydia DeCarllo (POC Photo)

Lydia DeCarllo (POC Photo)

Musician Gus Clark (POC Photo)

Gus Clark (POC Photo)

Boom Boom L’Roux (POC Photo)

Boom Boom L’Roux (POC Photo)

Boom Boom L’Roux (POC Photo)

Boom Boom L’Roux (POC Photo)

Randi Rascal (POC Photo)

Randi Rascal (POC Photo)

Lydia DeCarllo (POC Photo)

Lydia DeCarllo (POC Photo)

Lydia DeCarllo (POC Photo

Lydia DeCarllo (POC Photo

Adra Boo (POC Photo)

Lydia DeCarllo, in part of a costume that once belonged to Satan’s Angel (POC Photo)

No one would have guessed a bizarre little show with an expletive for a name would become an annual staple for artists nudging burlesque a little farther from plucky bra strap popping into full-fledged performance art. The That’s F*cked Up! series, now in its fourth incarnation, has done exactly that. Every year the theme has widened, the call for proposals often bringing in acts dealing with serious subject matter such as domestic violence and rape. Which isn’t to say there’s not a good dose of the lighthearted and dirty in there as well, you just have to clench your teeth through a few uncomfortable moments before that kind of release.

“There were a few really interesting trends we found that have influenced the show this year,” producer Heidi Von Haught explained. “For one, the performance style that Flirty Sanchez refers to as ‘sadlesque’ seems to be taking off in a big way. I think That’s F*cked Up! and ReProduction [a benefit for NARAL Pro-Choice Washington that sold out last spring], produced by Randi Rascal, Wiggy Stardust, and myself, had some significant impact on that. In giving people a space to perform burlesque that is more serious and evokes sadness, pain, discomfort and loss, I think performers have felt their options expand and are really excited about that.”

Both Heidi and co-producer Randi Rascal perform in TFU4 as well as carefully curating the acts beforehand, even importing guests from other cities whose acts specifically fit the focus. San Francisco’s phenomenal Rubenesque Burlesque made an appearance in opening weekend’s shows; their performance to Marilyn Manson’s “The Beautiful People” was one of the strongest of the evening, squarely addressing body image and shame with a wicked sense of humor. Burlesque’s male performers have been pushing the art form forward by leaps and bounds the last few years. In TFU4 brothers Paris and Trojan Original are characteristically brave as well as beautiful and Man Johnson and Sir Richard Longfellow bust through surprising stereotypes. The Luminous Pariah also guest stars in the show’s second weekend at Re-Bar, February 22-23 at 7:30pm. (Tickets available at www.brownpapertickets.com)

Jett Adore performing at the New Orleans Burlesque Festival (POC Photo)

~ Interview by Paul O’Connell (POC Photo), with additional text by Jessica Price

What’s a little ambiguity in the XX/XY sex chromosome department between friends? 2013 is shaping up to be the year of the MAN. Truthfully, the momentum for male burlesque has been building for years and years (just ask Scott Ewalt the next time he lectures at BurlyCon) but with the rise in popularity of showcases like the New York Boylesque Festival, now in its second year, male performers reinventing burlesque in daring and innovative ways seems more possible- and visible- than ever before.

This week’s picks of the glitter are just a few ways to celebrate the beautiful and bawdy boys of burlesque/boylesque:

Thursday night (February 28) at Central Cinema, Wes Hurley’s latest film Waxie Moon in Fallen Jewel kicks off a monthly screening series hosted by none other than RuPaul’s Drag Race-r Jinkx Monsoon and Waxie Moon in the flesh. Get tickets HERE, and if you miss it, BenDeLaCreme hosts the next screening on March 28.

For your “early warning” file, next month (March 27 to be exact), KINGS: A Boylesque Extravaganza takes place at the Triple Door. This show is incredibly exciting for obvious reasons (um…Evil Hate Monkey, Russell Bruner, Waxie Moon, Stage Door Johnnies, and Mat Fraser all on one stage???), but the show will also be filmed for a new movie produced by Seattle filmmaker Deirdre Allen Timmons- yes, Deirdre of the now-famous burlesque documentary, A Wink and a Smile. Get tickets HERE.

The Stage Door Johnnies at BHoF (POC Photo)

But lest we get too carried away with the future, let’s talk about the present. Our top pick for this week is Boys! Bois! Boyz! Starring Jett Adore at West Hall on Friday, March 1. For those that haven’t yet seen Jett perform, many burlesque aficionados are already familiar with his oh-so-dreamy name: Jett has been honored with multiple Burlesque Hall of Fame wins including 2010’s “Most Innovative” and “World’s Best Burlesque Group” (with Stage Door Johnnies), and is current titleholder of “Best Duo” with Frenchie Kiss. Many other talented specimens of masculine perfection appear in this week’s show- Trojan Original, Daddy Z Deviant, Waxie Moon, and Paris Original, just to name a few. The show will be hosted by Ernie Von Schmaltz for two shows at 7:30 and 10pm. Check out the whole package (yeah, that’s what we said) and book tickets HERE.

Friday, March 1 at West Hall

We talked to one of the show’s producers and performers, Fosse Jack, about putting together this boylesque showcase:

BSP: Can you tell us a little about how the Boys! Bois! Boyz! series was developed?

Fosse Jack: Actually the idea was suggested by Miss Indigo Blue! She wanted to do a boylesque show starring Jett Adore, and invited Sir Eddie Van Glam, myself and EmpeROAR Fabulous to produce it in tandem with the Academy of Burlesque. With both Eddie and I on board, she suggested we build off the previous Boys! Bois! Boyz! shows and build something awesome. Working with Miss Indigo Blue and EmpeROAR on a producer level has been an amazing experience.

The concept for Boys! Bois! Boyz! was born during a Burlesque 202 class in which Sir Eddie, myself, Man Johnson, Piston Chambers, Rip Curl and Summer Lovin worked together under the tutelage of Waxie Moon. Piston had been the driving force behind getting us all together, with the idea of having a “boylesque takeover” of the class. During the show Sir Eddie expressed interest in doing a boylesque show, and asked me if I was interested in producing. I came up with the name, inspired by Lady Gaga’s song “Boys, Boys, Boys”, and by the varied aspects and representations of masculinity in burlesque (hence the three different spellings).

We produced the first just over a year ago, as a Double Feature Burlesque Show with the Pin-Up Angels, and then again in May as an opportunity to perform the Waxie Moon & Ensemble “Cum Together” act. Our first show, hosted by Daddy Z Deviant, was built around a ‘celebration of boydom’ and featured various types of boylesque, including drag king performance and clowning. Our second show, hosted by Flirty Sanchez was a more story-driven idea and had a boy band theme. Boys! Bois! Boyz! Starring Jett Adore goes back to the ‘celebration of boydom’ and will feature a wide variety of boylesque talent.

BSP: What are some of your goals in producing shows like these?

Fosse Jack: For me, I want boylesque in Seattle to get a little more publicity. We have a LOT of amazing talent and very few shows or groups dedicated to it. Throughout the past few years I’ve seen boylesque troupes try to form but the appeal of each was limited to a particular demographic. Only Mod Carousel has been able to maintain its shape and force.

That being said, I believe that there is a need to introduce more people to boylesque, and vice versa, Seattle’s boylesque performers to a wider portion of the burlesque audience. Much of the desire for this type of show has been expressed by fellow burlesque performers; but if marketed correctly, and in providing a wide variety of boylesquers, we can make ourselves noticed and hopefully build steam for a wider and more enthusiastic boylesque audience in the Emerald City and surrounding area. Ultimately I would like to see Boys! Bois! Boyz! lead to Seattle’s own mini-boylesque festival. New York has the market on that right now, but to my knowledge the West Coast is behind. Whether this could come to fruition or not is hard to say, but a boy can dream.

BSP: Can you explain a little about your introduction to burlesque?

Fosse Jack: I was introduced to burlesque by Polly Wood. Polly and I went to college together and toured in the same dramatic troupe. We were close and stayed in touch after college. I knew she was getting into burlesque and talked a couple of friends of mine into going to a show with me. I had no idea what to expect, let alone have any clue that the art form would call to me as it did. Anyway, it was a Columbia City Cabaret hosted and produced by Tamara the Trapeze Lady that gave me my first introduction to burlesque. My friends (both young women) talked about how fun it would be to perform an act, largely joking, but the same thoughts played in my head in a more serious fashion.

I came up with my name – Fosse Jack, combining the last name of my favorite choreographer (Bob Fosse) and an uncommon pet form of James (my birth name). I also liked the inadvertent double entendre: Fosse is derived from the Latin for ‘bone’ and well, Jack should be self-explanatory. About the same time Polly changed her [stage] name and without thinking we had created duo Jack & Wood, a name that still makes me giggle like a ten year old boy.

Waxie Moon was the first boylesque performance I ever experienced, and I remember being both a little shocked and more than a little intrigued the first time I saw him as The Rat King in Land of the Sweets. Polly had introduced me to Waxie and mentioned that I had an interest into getting into burlesque. Waxie told me about the first Boylesque 101, at the time an informal event. I was not able to join that class but the thought remained in my mind. A few months later I saw Through The Looking Glass where I was reintroduced not only to Waxie but also to EmpeROAR Fabulous. It was EmpeROAR Fabulous who gave me my debut performance at his Fresh Air show, which raised money for a charity in his mother’s name… About a month after that Polly Wood and I launched our very first Jack & Wood Show, and produced it on a monthly basis for about a year until other projects took over. We are just now returning to this project and have re-launched Jack & Wood at The Can Can.

I’ve been performing on and off for the past several years, working for smaller shows at The Jewelbox, Can Can, and Re-Bar and performing more recently in large productions at Theatre Off Jackson and The Triple Door. I have also been (though inconsistently) reviewing burlesque shows, largely as an exercise in objectivity and self-education but also in an attempt to bring a self-awareness to the Seattle burlesque community in relation to other ‘mainstream’ art forms. As burlesque becomes more and more in the public eye the demand for consistency and high standards increases and we should all be aware of this.

BSP: Any other parting thoughts on burlesque/boylesque in general…?

Fosse Jack: I have not always liked the term ‘boylesque’, in fact I refer to myself as a ‘burlesque’ performer in most cases. I don’t believe there is a great deal of difference between these two facets of the art form, with one exception. It’s hard for boys (whether male by birth, identity or persona) to perform ‘classic burlesque’ as the rules of the classic are not easily applied to non-breasted glamourites, or to the place ‘men’ hold in the social psyche that convention enforces on our community as a whole. Even Waxie Moon and other gender-blenders who perform, at times, in a classic style (and do so beautifully) are not received the same way as a female artist would be. It’s just a fact of the social eye.

But as Boy/i-Burlesquers are becoming more numerous, and are integrating themselves, their styles and their talents with the greater burlesque community, I think they will in time gain more of the spotlight. This has been done in Chicago with Jett Adore and the Stage Door Johnnies, in New York with their no-holds-barred performers like Tigger!, and to some extent with acts like Chippendales, and can be done with the amazing variety of local talent.

Our part in the art of the tease is still being formed, our contributions only just being recognized. There is steam building here, and I want to help that steam get things moving. In another couple of years, I would like to see the ‘boylesque’ aspect of BHOF be on equal or near-equal footing with the classic aspect, and the title of Reigning King of Burlesque or (as I prefer) ‘Prince of Tease’ to be something solid to work toward, not just a glorified honorary mention.

In the meantime it is important for us to continue to read the audiences, push boundaries in such a way that we awaken an appreciation for what we do. Shock value can be effective but not in the long term. The waters are warming up, slowly, we just need to apply a little extra heat now and then.

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Visit Fosse Jack at www.fossejack.blogspot.com.

International man of mystery: Fosse Jack in Burlesco DiVino (POC Photo)

Inga Ingenue and Fosse Jack (POC Photo)

Celebrate 10 years of high kicks and hairspray with The Heavenly Spies (Photo by Calima Portraits)

My absolute favorite burlesque-dance-girlie-gang hybrid, The Heavenly Spies, have reached a milestone anniversary and are celebrating in a characteristically grand style. Their larger-than-life ten year anniversary show Diamonds takes place at the Triple Door this month and in keeping with their fantastical influences (the showgirls of the Crazy Horse meets Barbie meets the Rockettes) they’ve added a 10 piece big band and oodles of new girls to elevate the show’s high-kicking finale. Choreographer and founder Fae Phalen Pink, who performs as Agent Rhinestone, is a firm believer that sometimes more is more- at least when it comes to dazzling costumes and thrilling, hyperkinetic dance moves. Although they’re quite at home in the shadowy, intimate bosom of Can Can each Saturday for The Midnight Show, just think what the Spies can do with all that luxurious expanse of stage at The Triple Door.

Without further ado, we bring you a quick and dirty Q&A with the imaginative, fearless, and remarkably bend-y heart of The Heavenly Spies, Fae Phalen Pink.

Burlesque Seattle Press: Congrats on 10 years of Heavenly Spies! To celebrate, I thought we’d do a fun retrospective on the Spies in the form of a few questions, perhaps touching on some lesser known Spies trivia. For starters, how did the troupe form and who are the longest running members?

Fae Phalen Pink (aka Agent Rhinestone): We formed in 2003 when Sassy Delure and I were at Sonya’s having a drink for her birthday. We were daydreaming about putting together a cabaret show when the owner overheard us talking and told us he would build us a stage in the back of Sonya’s. Our first show was called Ultra and the Satin Dolls. We met Ultra for the first time when Wade Madsen introduced us and recommended him as a host for our new show. He auditioned for us at the old Velocity building and it was an instant love connection. I am the only original member!

BSP: Where was your first show?

Fae: Sonya’s on 1st Avenue.

BSP: Where is the most bizarre place you’ve ever performed (both individually, and as the Spies)?

Fae: Individually… A steak house in Cle Elum…. With the group I would have to say a 75th wedding anniversary. It was a very sweet event… just not our typical rowdy Friday night audience.

BSP: Can you recall any names for the troupe that almost made the cut, and didn’t?

Fae: The Heavenly Spies was the name of our first show at Can Can and it just kind of stuck.

BSP: What’s the most surreal or treasured moment you’ve ever shared as a troupe?

Fae: Definitely performing with Amy Sedaris at a Microsoft event in front of 35,000 people.

BSP: What’s the worst costume disaster you can recall in Spies history?

Fae: There are 2! The first was when a spy that shall remain nameless put her thong on backward during a quick change and had to do an entire number that way. The second would be during Viva Oz Vegas when both of my pasties fell off during a staged fist fight/dance with Ultra. A completely topless Dorothy… yikes.

BSP: Aside from the core dancers, who or what would you say is the “most valuable player” behind the scenes?

Fae: In the years past The Heavenly Spies were always run by myself and a partner in crime like Sassy Delure, James Blonde and Honey Sexpot…. Now with each of them living in a different state the person I rely on the most is my husband Chris Snell. Even looking back he has been a key part of our success as a group. In addition to him I rely heavily on Violet Hour/Summer who I have danced with for years… we met ages ago dancing for Greg Thompson and I am so lucky to have her as a positive person in rehearsal and on stage.

BSP: If the Spies could perform with or share a dream bill with anyone, living or dead, who would it be?

Fae: I think we would each give you a different answer but I would have to say Toni Basil. My Dad gave me a VHS tape of her music videos when I was about 7 and I have been obsessed with her ever since.

BSP: What are some influences you channel in creating Spies shows?

Fae: [The] Crazy Horse, Toni Basil, Vegas show girls, Barbies, the Rockettes, Jane Fonda, booty bounce and a hybrid of old 60s glam and current pop culture.

BSP: The Spies are known for their skilled choreography, high energy shows, and fast-paced costume changes (not to mention great beauty!). How many costume changes are there in a typical Spies show?

Fae: About 20 quick changes!

BSP: Heavenly Spies are also known for impeccable taste in music, resulting in a potent pairing of music and choreography in all your shows. What’s your criterion for choosing music, and what are some of your musical ‘spirit animals’?

Fae: I’d say we try to have a perfect combo of high energy rabbit and slithering sexy snake spirit animal energy in all of our shows.

BSP: Ten years is a long life span for any troupe, and the Spies seem to be at the top of their game. What’s the biggest lesson or secret to success you’ve learned in these 10 years?

Fae: We continue to evolve as a group and we have fun in rehearsals and on stage.

BSP: What should we expect from the anniversary shows, and…what have you got planned for the next ten years?

Fae: The anniversary show is a little more classic and uses a 10 piece big band. We are doing a ton of new numbers as well as highlighting a few of our favorites from the past. We have also added a bevy of new girls to the closing number of the show which is new for us. I am very excited to see all those girls high kicking on stage together!

I’m not sure what the future holds. I would like to keep doing what we do. I love performing at Can Can and the family we have created there…

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See The Heavenly Spies in Diamonds at The Triple Door, March 14-16, or catch The Midnight Show at Can Can most Saturday nights. For teaser videos, pix, and more Spies information click HERE. Diamonds features Bang Bang Big Band with vocalist Caela Bailey and a special performance by the Luminous Pariah.

A better tagline just isn’t possible.

Girl talk! (Photo by Chris Pink)

I’m at a complete loss for a clever caption here… (Pin-up artby Gil Elvgren)

Showcase Showdown: A Burlesque Game Show to Benefit PAWS @ Re-Bar March 14-16 7:30 pm

Our top pick of the (g)litter this week is a special one. We love pussycats of all types, dogs too…and just about anything else worth petting, come to think of it. Showcase Showdown mixes burlesque glitz with game shows to help animals in need at PAWS.

Producers Sailor St. Claire and Ace Carter (of Aces & Anchors Productions aka the duo behind Tuesday Tease at LUCID Lounge) have put together a “Price Is Right” style benefit that includes interpretations of some classic games from the long-running television show with a fixation on grocery items. Will the yodeling mountain climber from Cliff Hangers make an appearance? You’ll just have to show up and see.

The show features performances by Miss Kitty Baby, Tamara the Trapeze Lady, Sailor St. Claire, Man Johnson, Violet DeVille, Penelope Rose, Al and Will Lykya, Czech Mate, Mitzy Sixx, Candy Apples, and Minni Bobbins. Miss Huney Bush and Bunny Von Bunsmore will assist host Ace Carter, who bravely steps into the smooth-talking, unflappable role of Bob Barker.

Incidentally, Bob Barker’s work in animal welfare didn’t end with his trademark show-closing reminder to “help control the pet population – have your pets spayed or neutered”. At 89 years old he continues to support many animal welfare causes, as recently as 2009 donating $1 million to Drury University to establish the Dorothy Jo Barker Professorship in Animal Rights. Interestingly, according to a Wikipedia entry on the game show:

Furs have not been offered as prizes since Barker’s tenure as host. Several Barker-imposed prohibitions have been lifted since his departure, such as offering products made of leather or leather seats in vehicles and showing simulated meat props on barbecues and in ovens.

Well that’s too bad.

However, the burlesque Showcase Showdown has some great pet-friendly/showgirl friendly raffle prizes on offer, including goodies from The Burlesque Boutique, gift certificates to All Seasons Pet Care, handmade wallets from King of Spades Clothing, gift certificates to I Heart Dogs shop on Phinney Ridge, rhinestoned bow ties from Haute Under the Collar, gift certificates to Nick’s Off Market, pasties designed by Seraphina Fiero, gift certificates to the Highway 99 Blues Club, and a grand prize gift basket from Atomic Cosmetics/Xerion Skin Science.

We think Bob Barker himself would approve- after all, in a little quasi showgirl trivia- don’t forget that Barker also hosted the Miss Universe pageant from 1967-1987. He’s always been a very busy guy.

Tickets to Showcase Showdown are $15 in advance via BrownPaperTickets, $20 at the door. Bring an item from the PAWS Wishlist and receive a FREE raffle ticket- click HERE to see the list.

Special guests joining the proceedings via slideshow will be:

Chesty La Rue’s dog Duggan

Penelope Rose’s cat Miss Kitty (“Not to be confused with our headliner, Miss Kitty Baby” says producer Sailor St Claire)

BSP author Jessica P’s senior cat Olive (née Juliet), adopted from PAWS Cat City.

Three nights! Play for PAWS

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NARAL’s 22nd Annual Chocolate for Choice @ Safeco’s First Base Terrace Club March 13 7pm-9pm

Miss Indigo Blue and Inga Ingénue are among the esteemed celebrity judges at this finger-licking good tasting event and auction benefitting NARAL Pro-Choice Washington. Nightlife entrepreneur Linda Derschang and Cienna Madrid and Lindy West of The Stranger share in the judging, as well as Trudi Inslee (First Lady of Washington State) and many other politically active and concerned citizens that also happen to love chocolate. The burlesque community has been one of the most steadfast supporters of organizations like NARAL, as Sasha Summer Cousineau explained:

“Seattle’s burlesque community has shown a long and enduring commitment to the issues of reproductive health, rights, and justice, and in particular has been very supportive of NARAL Pro-Choice Washington. Chocolate for Choice is one example (Lily Verlaine and Waxie Moon have been previous judges). But there’s much more. Paula [The Swedish Housewife] was a reader at our Liberty Ball auction in October. Wiggy Stardust, Randi Rascal, and Heidi Von Haught have produced reProduction [a benefit for NARAL Pro-choice] twice. And Evilyn Sin Claire and Sinner Saint Burlesque have captained ‘Run for Your Rights’ teams 3 times… So it seems that burlesque and choice make very natural bed fellows.”

All chocolate is graciously donated by over 40 local chocolatiers; cakes and other goodies will be available via auction or purchase. For tickets and more information, click HERE.

March 13!

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Some familiar faces turn up in Disney After Dark. (Images by POC)

Stripped Screw in Disney After Dark @ Columbia City Theater March 15-16, March 22-23 @ 9pm

In other big show news this week, if you haven’t yet seen those renegade burlesquers over at Stripped Screw pay tribute to Disney in a way that might just desecrate your favorite storybook characters forever, you haven’t lived. Stripped Screw and friends revisit their most irreverent show over at the Columbia City Theater March 15-16 and again March 22-23. Get tickets HERE- this show is an absolute blast.

A trio of villainesses: Randi Rascal as Ursula, Bella Bijoux as Maleficent, and Lady Drew Blood as the Evil Queen (POC Photo)

Iva Handfull (POC Photo)

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Heavenly Spies in Diamonds @ The Triple Door, March 14-16

Finally, I’ve already gushed about Heavenly Spies anniversary gala Diamonds once in a recent post…because they’re so very worth it. Scroll down, or you can click HERE to read all about it.

Celebrate 10 years of high kicks and hairspray with The Heavenly Spies (Photo by Calima Portraits)

To know Tanya Harris is to love her, no matter how you’ve made her acquaintance. She enchants as Ruby Mimosa (“The Island Flower”) of The Atomic Bombshells, shares shimmy secrets as an instructor at the Academy of Burlesque (“Bump & Grind” is her specialty), throws down tournament-level dance craze technicality as one third of Dance Belt, and in case you’ve been living under a rock for the past year or so, you might also know her as owner of The Burlesque Boutique. The sweetheart of an online store has many “touchy-feely” tendrils: there’s the pop-up shop at Pretty Parlor, the dazzling garden of delights found annually at BurlyCon vending, and the sparkly sundries ripe for the plucking at Seattle’s most stylish burlesque shows. The Burlesque Boutique is out in the community constantly. All that and Tanya still finds time to eyeball new merchandise offerings and talk to burlesque artisans and fans about what they’re making, and what they want.

Tanya comes by her passion for the worlds of burlesque, dance, and retail merchandising naturally. A little backstory: Tanya was born in Kaneohe, O’ahu where she studied ballet for 13 years. She whirled her way through both competitive gymnastics and varsity diving, eventually studying French and fashion merchandising at the University of Hawai’i. All these seemingly disparate interests paid off in spades when she discovered her great love: burlesque. (Though diving hasn’t yet been incorporated into her routines, there’s always tomorrow).

While interning and working for Betsey Johnson on O’ahu, a position opened up at Betsey’s Seattle location and Tanya packed her bags and headed to the mainland. She immediately immersed herself in the thriving swing dance and rockabilly circuit, where she soon made the acquaintance of Miss Kitty Baby and Jamie Von Stratton. Meanwhile, the crew from Betsey’s popular retail shop sometimes held meetings at burlesque shows and it was at such a meeting (at now defunct venue The Heavens, to be exact) that Tanya got her first glimpse of burlesque. It was an Orchestra L’Pow! event produced by The Swedish Housewife. In February 2007, Tanya saw Dita Von Teese with The Atomic Bombshells and knew that burlesque was something she wanted to do. An art form which so perfectly crystallized modern, sexy femininity with jazz and ballet training seemed too good to be true.

Ruby Mimosa (Photo by Jiji Lee)

Tanya also recognized Honey D. Luxe (aka Jamie Von Stratton, whom she’d met via mutual friends from Betsey). “Oh my god! I know that girl!” she recalls thinking, incredulously. Jamie put our future starlet in touch with Miss Indigo Blue; Tanya signed up for an eight week “Bump & Grind” course (which later, she’d end up teaching); and the rest is history. A few lessons in Indigo recognized Tanya’s natural talent and suggested an audition for Kitten LaRue, who was looking for a new Bombshell. It was a perfect fit. By August she debuted as newest Bombshell Ruby Mimosa at the Triple Door, just six months after seeing the troupe with Dita on the same stage.

Ruby Mimosa, The Island Flower (Photo by Deborah Spencer)

Through burlesque Tanya got to know not only innovative dancers, but the many brilliant designers and unique artisans among the burlesque community. She quickly recognized the need for a shop where people creating showgirl wares could present them. She dreamed of a way to combine all the aspects of burlesque that she loved- the wigs, the rhinestoned bits, the costumes and pasties, the socializing and camaraderie- all in one boutique. The Burlesque Boutique began as an online store around a year ago, at the same time appearing as a pop-up shop at shows and locations such as Dr. Jen’s Atomic Cosmetics. Kitten LaRue, Lily Verlaine, and Jasper McCann have also been early supporters of The Burlesque Boutique, entrusting Tanya with merchandising at many of their shows including the incredible spread of wigs, ornaments, Atomic Cosmetics, Danial Hellman underwear, Haute Under the Collar ties, Barones Lovey De Luxe jewels and more at Land of the Sweets 2012. Though she would love to eventually grow into a retail space where the community can shop or gather, Tanya recognizes that the uniquely social aspect of live burlesque shows is something an online presence can’t replicate. Currently The Burlesque Boutique has a pop-up shop in Capitol Hill’s Pretty Parlor, owned by local purveyor of all things lovely Anna Lange (aka Anna Banana). “Anna’s brilliant, she’s just such a great designer of things, and she’s so positive. She’s so supportive and it’s so nice to be there,” Tanya says of showing her sparkly bits among Pretty Parlor’s rich mix of vintage and indie designers.

Pretty Parlor will host a special Burlesque Boutique Trunk Show on Saturday March 30 from 3-7pm. The event will celebrate the ultimate tease- the arrival of spring in Seattle- with a fun shopping event including a little socializing and an array of spring confections for dressing up from head to toe. Everything from spring dresses to wigs, feathers, flowers, rhinestoned panties, pasties and more will be on offer, as well as gorgeous pieces from The Burlesque Boutique’s new lines Trashy Diva, Stop Staring, and Unique Vintage. Pastie cupcakes, mixed nuts, and some sparkling beverages will give you the strength to shop. Or watch fashion designer and aerialist Jamie Von Stratton (also a featured designer at Pretty Parlor) accessorizing the shop itself as she hangs from silks on Pretty Parlor’s pink chandelier. “It’s so awesome!” laughs Tanya. “The chandelier is gorgeous…There’s just so much light and color in there…”

To view The Burlesque Boutique Trunk Show’s Facebook event, click HERE.

Need a little something for your hair? Perhaps something small & sexy to wear beneath it? Visit the Burlesque Boutique Trunk Show at Pretty Parlor March 30.

Australia’s Captain Kidd

With less than a week until KINGS: A Boylesque Extravaganza hits Seattle’s expansive Triple Door, the first thing we need to divulge is that as of this writing, the only remaining tickets are Standing Room Only. The second bona fide fact is the distinguished male peelers prepared to tease you into submission will remind you why your knickers got in such a twist about burlesque in the first place. The all-male revue features multiple Burlesque Hall of Famers and contemporary boylesque legends from around the world all gathered under one roof for one gigantic show.

The announcement of KINGS seemed to pop up out of nowhere, reaching nearly sold out capacity in lightening speed. But it wasn’t really out of nowhere, of course- the showcase was carefully planned by the industrious and ever-artful minds of filmmaker Deirdre Timmons (A Wink and A Smile), and Paula the Swedish Housewife- aka, The Swedish Housewife Presents- or most recently, the performer paulanow.

Paula took a few moments on the fly this week to talk with us about KINGS. (We also recently chatted with one of the show’s stars, Jett Adore, and will post that interview in the coming days).

BSP: HI Paula! It’s been a while since we’ve seen a show from The Swedish Housewife Presents, although you were involved with and hosted reProduction (the NARAL benefit) last summer, a cause that’s important to you I know. We’ve missed you! Where have you been??

Paula: What I want to say is, I’ve been hiding in my bear cave playing Goldie Locks and eating blueberries and salmon…but truthfully I’ve taken a much needed break from production, performance and burlesque. Last August I started working on a one-woman show that I intend to perform this Fall as paulanow, my new performance identity as no one but my family can pronounce our last name.

The Swedish Housewife Presents and The Swedish Housewife have been allocated as “a gun for hire” and not self-producing any longer…possibly interested in hosting (so if anyone out there wants to hire her, contact away!).

BSP: What moved you to do a show focused solely on boylesque this time around?

Paula: I am doing this project to support Deirdre Timmons’ next film KINGS (as you see the show and the film have the same name). KINGS is a fictional comedic madcap road-trip about six boylesque performers competing to become the next King of Burlesque. Though Deirdre has directed and produced two feature-length documentaries and has been kicking around getting dirty in the burlesque scene for many years now, this will be her debut fictional narrative film. Read: This is not a documentary!

BSP: You’ve been both discerning & fortunate in your career as a producer and performer to work with people who are a cut above, the best in their genres. How did you go about selecting the cast for this show? (They come from all over but are all title holders…?)

Paula: I am fortunate to have discerning taste Heck, over the years I’ve just pursued the performers who wow and inspire me, and was fortunate that they said “Yes!”.

The talent in this show is crazy, all the men are fantastic. Mat Frazer and Waxie Moon are not title holders, Mat has never competed for a title, while Miss(ter) Moon has. In my eyes Waxie is a winner, a King, and an exceptional boylesque dancer who elevates the art form every time he sets foot on a stage. Deirdre is really responsible for the casting for this particular show; some of the talent are doing some initial screen testing for the film. But you are correct, The Swedish Housewife has always had very high standards when producing burlesque, she was very dedicated to elevating the art form, an important thing to do when presenting women on stage removing their clothing.

BSP: What do you think makes boylesque so exciting at this particular point in time? It’s definitely gaining visibility the last year or two, although it’s not a new genre by any means…

Paula: Many of the men come to burlesque with a bag full of tricks — training in theater, dance or circus arts – tricks that take years to hone.

Oh dear … am I really going to go there? Yes, I am. Men are not dealing with the sheer quantity of bland competition. The burlesque scene is simply drowning in female performers – and many are just not that talented or bringing anything new to the stage.

BSP: Proceeds from this show will go in part to help with the making of Deirdre’s new film. How long have you known each other, and how would you say you function & mesh together artistically on this project?

Paula: Deirdre is shooting the show for media that can be used for her trailer and for an Indiegogo campaign to help raise funds for this film, which is in its baby steps of development.

The proceeds of this production do not begin to cover the costs of the show. Flying in, feeding and housing international talent from Australia, NY, London, Chicago and LA, let alone bringing in videographers, photographers, and renting camera equipment, can get astronomically expensive. The Indiegogo campaign will help raise development funds for KINGS. These funds are needed to pay for such film pre-production costs as script development, budgeting, scheduling, storyboarding, financing and legal fees, fundraising costs, music rights, and creating a teaser video. Pre-production – the first part of making a film – can be and usually is — the most complicated part of pulling a project together, something people often don’t realize.

I see this show as more of a big decadent gift to the Seattle burlesque community from Golden Echo films. This is not what one would call a sustainable show model, which is why The Swedish Housewife Presents is not presenting anymore (again, gladly a gun for hire )

High standards come at a high price.

I met Deirdre when she was making A Wink and A Smile. I offered to produce a fundraiser for her and also offered up the band I was in at the time, Orchestra Le POW!, to play the show. Loren Dutton and Dain Hudson wrote some fantastic original music for the film, which really helped Deirdre’s film project as sync rights to use music in films is astronomical (case in point, she had to drop two little-known songs from the film at the Nth Hour because the music rights would have cost $20,000 per song!). A Wink and A Smile has had great exposure on Netflix, cable, in theaters and now in Australia, but it has only made money for distributors (common for indie filmmakers, just like modern-day burlesque performers!).

I don’t know how long I’ve known Deirdre. I just always say ten years as a default, whether it is true or not. So I’ve known Deirdre ten years. This project is all hers, I’m just taking care of the logistics of producing the live show … and telling Deirdre, “No,” a lot.

p.s. The audience will be shot during the show so everyone should dress up and smile BIG for the camera. Enjoy the show!

*****

Scoop up the last remaining tickets to KINGS: A Boylesque Extravaganza by clicking HERE.

The Stage Door Johnnies at BHoF (POC Photo)

Ah, Jett Adore.  The name rolls gorgeously off the tongue, sending one into a reverie of fleeting moments shared recently in Seattle… there was the brief but flirty warm-up at the debut of Waxie Moon in Fallen Jewel at Central Cinema, a set of blush-inducing seductions at Boys! Bois! Boyz! at West Hall, and the absolutely stunning dalliances (both solo and with handsome counterparts The Stage Door Johnnies) at KINGS: A Boylesque Extravaganza last week at The Triple Door.  We’ve fallen in love with Jett Adore.  And we’re not the only ones.

Jett has traveled extensively, headlining all over the world in over 50 cities, touring most recently throughout Australia, New Zealand, and Canada. As some may recall, he was awarded the Burlesque Hall of Fame’s “Most Innovative 2011” as well as sharing the title “World’s Best Duo 2012” with Ms. Frenchie Kiss. Jett is also one of The Stage Door Johnnies, Chicago’s premier male burlesque trio, who scooped up the Burlesque Hall of Fame’s “World’s Best Burlesque Group 2011”. The troupe were awarded “Artists of the Year, 2010” by The Burlesque Innovation Guild and are ranked among the World’s “Top 10 Performers” by 21ST Century Burlesque. All this, and they manage to star in their own weekly show in Chicago. The Stage Door Johnnies are magnificent together; individually, they’re unique and just as sublime.

Paul and Jessica of Burlesque Seattle Press recently took a moment to get to know the delightful man referred to as “The No-Pantser Romancer”- Jett Adore:

BSP: Hi Jett! Where are you writing from now?  (You’ve been traveling quite a bit from your home base of Chicago we know, including a few recent stops in Seattle.  You also toured Australia last year…)

Jett Adore: I am back in my palace in Chicago, Illinois. Yes, we Stage Door Johnnies have been very busy. In the last several months, we have had our show in NY also starring Liza Minnelli and Alan Cumming, and we toured our show late last year in Australia for a little over a month with the Schlepp Sisters, Minnie Tonka and Darlinda Just Darlinda, and host Nadine Dubois. Since then, I journeyed on my own to headline in New Zealand for a few weeks for the 20th anniversary World Busker’s Festival in February, then a few big shows in Detroit and Chicago, and finally on to my Mini-West Coast Tour which brought me to your divine city.

BSP: Can you tell a little (for those that don’t know you just yet) about how you discovered burlesque, and a little about your trajectory as a performer?

Jett: I was born on the Isle of Romantica, where I was reared by my royal family with the virtues of love and sensual expression. Since childhood, and on my magical journeys since leaving my homeland, I have continually been offered the great fortune of working in the worlds of professional theatre and dance. Along these journeys, I had been involved in several annual events incorporating choreographed, polished, highly stylized dance into an elaborate exotic male theatrical experience. I have also been dear friends with burlesque icon Hot Toddy since we were both but wee sproutlings, and it is he who had the vision to bring together the three Stage Door Johnnies: Bazuka Joe, Ray Gunn, and myself. The ladies within the world of today’s exciting burlesque revival have since been largely responsible for our opportunities to shine our bright naughty bits all across the world. Without their continual welcoming embrace, we would have gone nowhere.

BSP: How would you describe your personal style and/or individual take on male burlesque?

Jett: First, I imagine, I pretend…that nostalgia actually exists for male burlesque just as it does for the legendary ladies. I dream, what if, when burlesque was at it’s original height of popularity, male performers had been just as prominent and mainstream as women who have made history? How would those men have translated the genre? I aim to allow indulgence in a fantastical male character who, just as so many of the divas of burlesque history, has a playful sense of humor without sacrificing legitimate sex appeal. I aim to explore masculinity, and to draw on icons and images which promote it, exploit it, twist it, exaggerate it, expand it. I never intend to bend gender, but I ask, always as a man, what can be provocative in the contrasts between delicacy and muscularity, softness and brawn? Is there a bit of fancy in football? The iconic romantic male image, in and of itself, may indeed be considered in many ways inherently feminine, what with all his writing of love letters and giving gifts of thoughtful bouquets and trinkets, his tenderness, charm, and immaculate, glamorous elegance, despite his brute strength. The rest of Jett Adore is mystery and secrets and plenty of gemstones, and to try to sort through it all would spoil the magic.

Jett Adore (Photo by Roxi D’Lite)

BSP: In recent years, men in burlesque (many of whom have been performing since neo-burlesque’s initial resurgence) have been more widely recognized, put ground-breaking work out there, and been a strong creative influence on the art form as a whole.  Do you feel like in your travels, people outside of the performance community are starting to wake up to the fact that men can embrace this form of performance too?

Jett: We Stage Door Johnnies have been immensely fortunate that our aesthetic has always been well received in the burlesque community and beyond. We have never had to struggle to be embraced as men in this art form, but have never taken that fortune for granted. It has since the beginning been our mission to embody a male counterpart to classic female burlesque in a way that does not mock, but rather glorifies the art of the striptease.

The vast majority of audiences I encounter, though, are largely virgins to burlesque of any kind, and come, I think, expecting less than the life-changing adventure they eventually experience. This is, of course, one of the most exciting things about burlesque. There is both great opportunity and great responsibility to bring the most polished, most innovative, most moving representation possible of this theatre we call burlesque, as it is often the first impression the audience will have to this genre.

I believe burlesque at its very core is universally rousing regardless of a performer’s gender or an audience member’s sexual preference. Though the crowd may roar at the glimpse of an exposed bottom or rhinestoned nipple, what they are applauding in that moment is an innovation, a surprise, a brilliant bit of artistry. From the elderly who attach to the nostalgia, to the stylish gay men who can’t get enough of the glitzy divas and elaborate costumes, to married couples, to bachelorette parties and fratboys, the beautiful melting pot of the burlesque audience all join together to embrace and rejoice in the fun and freeing art of striptease, whether or not the performer’s gender matches that of their usual sexual desire. What I have found fascinating is the positive and enthusiast feedback I and the other Johnnies have received from heterosexual men. They come for the ladies, but, to their astonishment (indeed, it is often all they can do not to groan and squirm as soon as a male performer is announced), they somehow find a cleverness and theatricality to our acts, which allows them to watch and enjoy and be roused, even inspired and empowered, by a guy getting naked. That’s breaking down boundaries. I love that.

Jett, in a little taste of his ode to beautiful plumage.

BSP: Did you ever imagine that being involved in this art form would hold such opportunities for you, and what have been the most cherished moments for you so far?

Jett: Before I was awakened to the rather obvious fact that theatre is much more exciting when people are getting naked, I never dreamed anything close to the life I am living. I am continually touched and overwhelmingly inspired by my beloved friends who are in this business. There are cherished moments at every turn, and heartbreak at every farewell. Attending the annual Burlesque Hall of Fame shows and awards ceremonies these last several years has certainly concentrated many of those kinds of moments. It is hard to top the gratitude felt at the recognition extended by some of the best of one’s peers. Better even is having the opportunity to acknowledge those peers for their own magical inspiration.

BSP: Finally- how would you characterize Chicago burlesque in a short sentence or two?

Jett: Chicago has some of the best of neo and classic burlesque and it is being produced in more and more spectacular venues. I am so fortunate to be part of the scene here; we’re all upping the bar for each other.

Jett reclining with a special friend.

Visit the spectacularly talented, spectacularly handsome Stage Door Johnnies HERE.

~Written by very special guest contributor The Shanghai Pearl

The Great Burlesque Exposition, which takes place annually in Cambridge, Massachusetts, was primarily organized by Ol’ Scratch and Betty Blaize of The Boston Babydolls.  It has since grown to a bi-coastal effort (Scandal from Bohemia helps coordinate the classes from the West Coast) and is now in its seventh year.

I have had the pleasure of participating in the expo for a few years now, and each year gets bigger and better.  I took a moment to ask the organizers what and why they started The Great Burlesque Exposition, and here’s what Ol’ Scratch had to say:

“Prior to getting involved with burlesque, I was the executive director for a high-tech membership organization.  Part of my job was to organize a major educational conference and tradeshow each year.  The first few burlesque events I attended were much more like fringe festivals than like the events I was used to attending; they largely consisted of shows at several different locations, and had almost no daytime events or educational component.”

“I created The Great Burlesque Exposition with two goals in mind,” Ol’ Scratch continued. “First, to create a weekend-long event at which all the activities and attendees were under one roof, because I believe that the best sort of inspirations, collaborations, and community-building come from that continued, close contact.  The second aspect was to create a world-class professional development conference.  If we – the people who perform burlesque – didn’t take it seriously as a profession, there’s no reason for anyone outside the burlesque community to treat us as serious professionals.”

Here are some juicy tidbits from my Great Boston Burlesque Exposition travel diary:

Friday, March 29: Day 1

Friday is the day that most people arrive. The only event on the first evening’s roster is “The Rhinestone Revue”, the Exposition’s showcase of previous GBE winners, invited guests, and guests of honor.  The hosts for the 2013 Rhinestone Revue were GBE’s Legend Guest of Honor, Toni Elling, and founder Ol’ Scratch.

Before we started the show, Scratch called Burlesque Legend April March from the stage so we could all wish her well (she had broken her ankle a few weeks before and was heartbroken she was unable to attend).  Everyone in the audience and backstage sent our love and wished her a speedy recovery.

I was so happy to see Willie Barret’s (aka Joe Paul Williams, Delsarte Master) sweet, charming, and comedic return to the burlesque stage.  Joe Paul Williams is first and foremost, a scholar and master of the Delsarte method of movement.  He was also a burlesque performer in the ‘90s. I am a great admirer of his work and love, love, LOVE his classes.

Willie Barrett’s return to Burlesque (Photo by Samantha Laine)

Jo Weldon, author of The Burlesque Handbook, debuted a beautiful tribute to the ladies of her Pink Light Burlesque project.  She is one of my favorite performers to watch- so beautiful, and so dirty. Another highlight was Vancouver’s Burgundy Brixx, (of Kitty Nights and Vancouver Burlesque Centre Fame).  Her pitch perfect act to an Ellington medley was a pleasure and a joy to watch. Backstage, The Boston Babydolls were the envy of all in their matching ‘Vegas’ costumes:  large fancy cut stones and rhinestone chain all over the place.

The Boston Babydolls (Photo by Jo Boobs)

Legend Toni Elling, who co-hosted the show, is such a treasure.  She is so natural and charming on stage.

After the show we migrated next door to the Last Chance Speakeasy.  The Ballroom next door was turned into a sexy speakeasy by event sponsor House of Gorejess.  It was lovely to see Cherry Killer Tomatoes representing Seattle on the bill.

Show highlights included Betsy Propane’s sweet and effervescent balloon act and Cherry La Voix’s extremely hot strip.  There was a lot of joy on stage in the many performances that night, as exemplified by Betty Propane’s infectious number and Cherry’s intoxicating tease.

Saturday, March 30: Day 2

Saturday kicks off the first daytime events of the conference. There are a wide variety of classes, panels, discussions, and roundtables.  I started the morning off with a panel on “Body Image in Burlesque” with Dot Mitzvah, Whisper De Corvo, Lydia Ransom, and Abhorrence.  One hour is not enough time for such a loaded topic, but we managed.  Then I headed to teach my extended “Master Class” version of “Drama”.

I love this class. We run around like maniacs and push our own boundaries with melodrama and theatrical presentation.  I had a terrific group of students who were totally ready to be challenged and WERKED. So good. I am in love with the lot of them.

After class, I headed over to the ”Legend Q & A” with Toni Elling and Jo Boobs in the main ballroom. I was quite disappointed by the turnout for this event.  [SOAPBOX ALERT] One of the best things you can do in any craft is to acquaint yourself with its history. Legend Q & A’s are a rare chance to hear FIRSTHAND the stories of burlesque history from the people who lived it. So, if you have a chance to do it- don’t miss it.

I’ve attended several Legend chats throughout the years and this one was particularly extraordinary because Jo managed to coax Toni to speak on some of the racism she experienced during her time in burlesque.  For those of you that don’t know Miss Elling, she is the type of lady that has a kind word for everyone. Soft-spoken, sweet, and a lady through and through, she is usually very resistant to speaking about racism.

[RACISM TRIGGER WARNING]  She shared with us that it was not uncommon to have “… people check my costumes to see if I was clean…” and “…once someone checked to see if I had a tail. That was the worst…so terrible…”

Uncomfortable as it may be, I think this is an important part of our history that we should know about. Burlesque is not all victory rolls, rhinestones, and roses. Our past, and parts of our present, are checkered with racism and many other nefarious -isms.  Racial tension and racism (while perhaps not as overtly violent and visible as they once were) are still present in our culture and amplified in our microcosm. It’s a sinister and nefarious thing that can only be broken down by self-examination and supporting one another in having those difficult conversations.

The last thing I have to say about Saturday’s “Legend Q & A” is my new favorite quote from Toni.  When asked if she had any advice for new generations of burlesque performers, she simply stated “Love it- or leave it.”

***

After the Q & A I made plans to have a little outing with Joe Paul Williams. I was thrilled to have a chance to spend a little bit of time with one of my favorite people. Joe Paul and I got ourselves off campus and into Harvard Square for a walk in the springtime sun. We decided to have a small interlude at Burdick’s Chocolates, which I found out later was one of Boston’s best chocolate houses, famous for their chocolate mice and hot chocolate. We talked art, artistry and our own histories in burlesque (Joe Paul performed boylesque and comedic stripper-grams in the ‘90s) over divine desserts. Dreamy.

Burdick’s famous chocolate mice

Saturday at GBE features “The Main Event” where competitors travel from all over the country (and the world) to strip and tease for a coveted Howard Award (named after The Old Howard, or The Howard Athenaeum,  home to burlesque queen Ann Corio and infamously shut down by Rose La Rose).

Competition and judging in burlesque is a very strange and challenging thing.  My only job that evening was to enjoy the show and pick a favorite, which quickly turned into a wildly difficult task as the night progressed.  I easily had a dozen favorites for a million different reasons- I didn’t envy the main judges at all.  The show was a thrilling stream of terrific acts and Ol’ Scratch kept things moving at a quick clip.

Here are the winners for the evening:

Donna Denise- Most Classic, Judge’s Favorite (Toni Elling)

Gorejess- Best Solo Performance, Judge’s Favorite (Jo Weldon, for best costume malfunction)

Danger Doll – Most Comedic, for a dirty and hilarious strip as a polar bear

Femme Brulee – Most Beautiful

Peggy Delune – Best Hybrid

Vanilla Frappe and Vivienne LaFlamme  – Judges Favorite (me!) for a fun and filthy ‘Rubber Ducky’ duo that LITERALLY made my dreams come true.

Other highlights included:

Beelzebabe started off the show with a classic strip in a stunning red costume. Bobby Barnaby delighted the room with an electric and exuberant fan dance.  Donna Denise stunned with her gorgeous grasp of classic burlesque in an aquamarine gown trimmed in long, lush lavender turkey ruff. Essence Revealed owned the stage with her gorgeous body and booty tricks that made my eyes pop out my head. Honey Lawless did a lovely burlesque of Marilyn Monroe’s turn in “There’s No Business Like Show Business”.  Burgundy Brixx and I were aflutter over Honey’s stunning gown recreation.

I also loved Ruby Solitaire’s lovely strip out of a glittering red Dalek costume. I was not only impressed by her beautiful strip, but also by her costume.  A Dalek is characteristically hard and robotic, and a burlesque performer (and costume) is generally soft, flowing or feathery.  Ruby’s act and costume artfully juxtaposed and balanced all these disparate details.

Sailor St. Claire, Whisper De Corvo, and Gorejess represented Seattle beautifully.  Gorejess won not just one but two awards with her fierce strip, Sailor St. Claire was luminous in her pretty and ethereal winter frost act, and Whisper De Corvo sparkled in a lovely and classic fan dance.

Sophie Champagne traveled from Milan to show us her tail feathers, Captain Elastico’s strongman act was charming and unexpected-  it was a great, great show with strong performances from all involved.

After the show was the Pool Party with yummy surf rock from The Waveriders! The competition was over but Miss Mina of the Boston Babydolls still won at the Pool Party by showing up in a MERMAID TAIL.  (Being obsessed with mermaids myself, I was naturally quite jealous).  Poolside hijinx ensued and fun was had by all.

Poolside with GBE 2013 double winner Gorejess

More poolside posing with Seattle Sweetheart Cherry Killer Tomatoes (Photo by Gorejess)

Sunday, March 31: Day 3

Sunday, the last day!

I started the day with Lydia Ransom’s “Obscenity Law and Burlesque” class. Fascinating and informative, I am so glad I was finally able to attend this class. The policing of women’s bodies in public is galling, appalling and simply bananas.

I was able to catch a small part of the Exotic World film screening before my next class.  This ended up not being the best decision on my part, as I found myself quietly weeping not 15 minutes into the film.

My next class was “Power, Pleasure and Meaning”, a lecture and discussion I created to address some of the complex problems I have been seeing and experiencing in our community. I already get the most nerves when I teach this class, probably because this class has a hefty chunk of my tender human self invested in it.  In any case, it went well- there were as many nodding heads as knitted brows (and even a few outright frowns).  So I felt successful.  When teaching this class at a festival or setting such as BurlyCon, I have a short amount of time to deliver a lot of material. Then I send people home with worksheets and they do the hard work on their own.  (What I would love to do is offer an extended version of this class where we tease this stuff out together…)

My last class for the day was much lighter subject matter. I headed to the craft room to teach “Headdresses, Fascinators and YOU!” This class is probably the most popular class in my DIY Showgirl series.  In it we learn how to shape and manipulate feathers and students create their own fascinators to wear home.  The most gratifying component of this class is the excitement and pride the students have over their new and beautiful (and often shockingly impressive) creations. The last chunk of the class is guided DIY, which basically turns into a fun craft party.

Here’s a peek at some stuff we made:

Vivienne LaFlamme

Vanilla Frappe

Finally, we reached the Tea Party!  At the end of the conference The Boston Babydolls host a charming tea party for the expo participants. This year’s tea party was sponsored in part by Jacqueline Hyde.

After catching up with conference attendees over tea and delicate nibbles, Paco Fish and I walked across the bridge for a quick dinner before…. “The Newbie Showcase”! One of the best things about this weekender is the support it offers new performers. In addition to a variety of classes and panels, it features an entire showcase dedicated solely to new performers.

New performers (aka ‘Newbies’ or ‘Fresh Meat’) are a special thing. Sometime when I talk to brand new performers (usually after a class or in between classes) I find myself feeling particularly nostalgic for that the ‘newbie’ time. The first few years are amazing! You have a million ideas and want to do everything! You are vibrating or quivering with possibility and excitement. It really is an infectious energy.  I wish we could bottle it.

The show itself was energetic and joyful.  A few highlights for me were Gigi Holliday and Dainty Dandridge with two high energy and classic performances.  Also, Tapitha Kix (a member of the Baltimore/DC-based troupe Twisted Knickers Burlesque) revived some old school vaudeville with her TAP DANCING, EN POINTE. Fabulous!

After the show, it was time to pack! So with that I leave you with what plays in my head at the end of every festival/convention/expo…

*****

Learn more about the adventures of The Shanghai Pearl, the “Tantalizing Temptress from Taipei and Princess of Pulchritude!” (Burlesque Performance and Instruction) at www.TheShanghaiPearl.com.

Jesse Belle-Jones, as photographed by Greg Holloway

Seattle burlesquer Jesse Belle-Jones is fast approaching the need for a few more dashes/hyphens/slashes in her name and list of titles.  Most know her as “The Modern Sexual Intellectual” of Sinner Saint Burlesque, where she’s been a member since 2009.  She’s also been a producer and regular reader with Naked Girls Reading since the local chapter first dropped its literary skivvies here in early 2010. In January, Jesse added member of the Board of Directors at the Foundation for Sex Positive Culture to her credentials. The nonprofit is responsible for educational and cultural events celebrating sexuality- the most famous of course being the annual Seattle Erotic Art Festival, where Jesse also happens to be Co-Director of Performance Art.  Burlesque, as an art form steeped in sexuality, has proven to be just the delectable tip of the iceberg for Jesse.  Through it, she’s plugged into wider worlds of artistic and intellectual stimulation that have kept her creativity piqued in every pursuit.

As fate would have it, several of Jesse’s favorite sexy worlds will collide this weekend with the relaunch of Naked Girls Reading at the newly opened Pacific Northwest Library for Sex Positive Culture.  “Part of the return is about connecting with the community,” Jesse told me by phone a few weeks ago.  “With local authors, artists, galleries, libraries….we sat down and asked ourselves ‘what do we want this event to do in our city?’” Taking a step back from the obvious novelty of girls reading books …naked… the producers considered what relevance the revamped series might have (the local chapter has been on hiatus since November 2011’s successful sci-fi encore).  The library, which is open to the public and part of the annex of the Center for Sex Positive Culture, seemed like the perfect location for the relaunch.

As individual franchises of Naked Girls Reading spread to a family of 19 cities and counting (the Chicago flagship was founded by Michelle L’amour and Franky Vivid in 2009), each chapter naturally developed their own unique sensibilities: some have emerged as boudoir-style salons;  others, more focused on niche genres.  In the hands of the cerebral  but ever-playful  Jesse Belle-Jones and her co-producers, the new Naked Girls Reading will undoubtedly find plenty of ways to get involved in the community, encouraging diversity and sexual  intellectualism wherever they  might hang their collective hats.  Particularly since hats may be the only apparel the readers are wearing…

NGR’s Seattle relaunch is Sunday, April 14.  Click HERE for tickets.

****

And in case you’re beside yourself with desire for news of Sinner Saint Burlesque:  their current run Sincerely is under way now at Noc Noc.  Each week you’ll find a member of Sinner Saint’s sister troupe The Beatitudes sharing the stage.  During the month of May, The Beatitudes will in fact be keeping the stage warm for Sinner Saint as they head to Alaska for a few weeks of teaching and performances.  (The Luminous Pariah, Jesse’s former co-star in SHINE: The Burlesque Musical will join the girls as host for a few Alaska dates, hot on the heels of his upcoming performance at the second New York Boylesque Festival).

In other news- looking for interesting work that doesn’t necessarily involve taking your clothes off, but is crucial to Sinner Saint’s heart and soul?  They’re currently hiring- interested parties should take a peek at a recent posting over HERE.

Lola Frost of the Vancouver Burlesque Centre guests this weekend at For Love & Money

This week’s quick & dirty burlesque show picks stretch all the way from Columbia City to the Big Apple:

First up, Violet Tendencies brings the third event under the banner Valkyrie Productions to the Columbia City Theater Friday and Saturday, April 19-20. For Love & Money will flirt with a little multimedia action for the first time as the performers bring acts that “sell” versus acts that fall more into subversive territory.

“The ideal is when they are one and the same, however for many artists the marketability of what we are passionate about often has to take a backseat to what we are paid for, ” Violet explained. “My goal with this show is twofold – first, to offer a place for artists to push boundaries and create while showing off their skills with a well rehearsed crowd-pleaser… and then of course to offer our audience a unique glimpse into each performer as an artist…”

The contrast of high glamor showmanship with more animal impulses might reveal a duality in some performers we’ve come to know in a more “marketable” light. Lola Frost & Cherry On Top of the Vancouver Burlesque Centre will guest star. For tickets, click HERE or check out the Facebook event HERE.

Want a little peek behind the curtain?

April 19-20 @ Columbia City Theater

Jesse Belle-Jones (POC Photo)

Randi Rascal (Photo by Takako)

Cherry On Top of Vancouver Burlesque Centre (Photo by Dave Humphreys)

The Luminous Pariah (Photo by POC)

Paris Original (Photo by Ji Ji Lee)

******

Speaking of Paris Original and The Luminous Pariah, they’ll soon represent Seattle’s thriving boylesque scene at the 2^nd Annual New York Boylesque Festival. Fortuitously (but not surprising at all, given their stupendous talent) Waxie Moon and Trojan Original have also been accepted to the fest. It’s an incredible honor that the unique talents of these performers will not only be recognized- but will be recognized together. We couldn’t be more proud, and the four couldn’t be more delighted to make the journey together and support one another on their Big Apple adventure.

Give our hometown boylesquers a proper send-off Sunday April 21 at The Rendezvous as they prepare to embark on their journey to the world’s only boylesque festival. The event will showcase the acts to be performed in New York- now’s your chance to say you saw them before they were famous.

Bite the Big Apple is a performance showcase and fundraiser featuring a raffle and live auction. Proceeds will help to offset the performers’ travel costs. Help our Seattle boys turn it OUT in NYC!

Featuring Waxie Moon, The Luminous Pariah, Paris Original, Trojan Original (Hosted by Leeni). April 21 @ 7:30pm, The Rendezvous. Get tickets HERE.

Sunday, April 21 @ The Rendezvous

******

Finally, next Wednesday April 24 at West Hall there will be a special screening of the film A Wink and A Smile hosted by Miss Indigo Blue, filmmaker Deirdre Timmons, and special guests. Catch a glimpse of early Academy of Burlesque history among friends and familiar faces at West Hall. Doors open at 6:30, the film will begin at 7. $10 suggested donation.

April 24 @ West Hall

Closing night of Texas Burlesque Festival 2013

~ Written and photographed by Paul O’Connell (POC Photo)

By now many of you know my excitement about attending burlesque festivals and events. Meeting new burlesquers and saying hi to returning ones makes me just want to jump into a big, naked burlesque hot tub with you all. And this year’s Texas Burlesque Festival was no different. Produced by Lynn Raridon and co-produced by Jigglewatts co-founder and 2010 Queen of New Orleans Burlesque, Coco Lectric, the TXBF – now in its sixth year keeps getting bigger and better. This was my third straight year attending and the second as performer Man Johnson (my perverted, absurd boylesque persona).

At times it’s a still a surreal experience for me performing burlesque. Like everyone else I have my bouts with nerves etc. and usually get along just fine. However the particular act I was fortunate to be invited to perform (at the Thursday night showcase “Nouveau Nuit”) would be the first time it would be done in public. Although I was pretty sure it would come off okay, there’s still that uneasy feeling…similar to when you’re climbing the ladder to the highest diving board at the community pool. Then just as they’re announcing your name, you say “this is it” and then you take the plunge.

My main concern though was my assels. (Assels for those of you who somehow don’t know, are just like tassels for boobs except you put them on your ass.) Not that they wouldn’t spin, because I in fact practiced my ass off thanks to Lady Drew Blood’s expert guidance in assel theory. But would the assels still be sticking to my butt by the time I hit the stage? After all, we’ve all seen pasties fly off.

As I watched the show in full costume I kept wondering to myself, “are they coming off???” and I would feel my butt to see if they were still attached. But it was all just silliness- the act went off without a hitch and I had a pretty good time up there, with both assels and front tassel (yes, that’s a cock-tassel) spinning beautifully. It was also nice to be Runner Up as Audience Favorite for the second year in a row.

The Texas Burlesque Festival is three nights with an Audience Favorite picked on Thursday and Friday that is invited to compete at the Saturday night showcase.

Here are the 2013 TEXAS BURLESQUE FESTIVAL details:

Thursday Night Audience Choice Winner: Lady Luck- Austin, TX
Runners Up: Man Johnson, Sherry Bomb and Ron Dez Vous
Friday Night Audience Choice Winner: Cruel Valentine- Chicago, IL
Runner Up: Ginger Snaps, Jasper St James, Mary Lynn Mayhem
Saturday Night: Best Costume- Tiny D- Brooklyn, NY
Best Use of Prop/Novelty- Bobbie Burlesque- Hollywood, CA
Best Ensemble- Queertini Time- Austin TX
Most Original- Crimson Skye- London, UK
Best Tease Factor- Franki Markstone- St.Petersburg, FL
Best Solo- Peggy De Lune- Columbus,OH/London UK

One of the best things about TXBF is Cora Vette as the Emcee. With her dirty jokes, powerful singing voice (she totally rocked “Barracuda”) and constant harassment of certain stage hands, it’s impossible not to have a constant ear to ear smile on your face. This year’s TXBF had ASL interpreters for the Thursday and Friday night show. I loved how Cora would start one of her jokes with “A man was jerking off,” and then she would quickly turn towards the interpreter to see how you would sign that.

The headliners for TXBF were current reigning Queen of Burlesque, Imogen Kelly, Dirty Martini, Camille 2000, current Queen of New Orleans Burlesque Angi B. Lovely, Ruby Joule (last year’s best debut at BHOF), two-thirds of The Stage Door Johnnies (Ray Gunn & Bazuka Joe), and Coco Lecric, who did a tribute act to Wild Cherry.

Coco Lectric’s tribute act to Wild Cherry (costume by Sherry Bomb)

I asked Coco to elaborate on how her tribute act to Wild Cherry came to be:

I don’t really know where to begin when it comes to my Wild Cherry tribute performance. When Cherry and I spoke about it this past September, I immediately became thrilled and nervous! Hailing from New Orleans, Wild Cherry worked the touring circuit from the late 1950s through the 70s. There are no videos of her during her touring years, but her incredible performance style and before-her-time abilities made me want to share her career with audiences and fellow performers. She was such a physical performer, using tumbling techniques, balance and exotic floor work. The first day we met for her to train me she had abdominal isolations and foot work ready to go. The gracefulness of her arms was the first thing I noticed about her when I saw her perform for the first time, and there she was teaching me to do it! She was very sure to include her signature moves from her signature piece, a number in which she spun, gyrated, isolated her movements and traveled across the stage in the splits in a teal costume.

I met with Wild Cherry a few times, but each time was packed with so much knowledge that I had to take notes and run home to practice. Through the year I learned to invest in a good set of knee pads, a thicker yoga mat and some really good gel to keep my own signature Bettie bangs slicked back so I could wear Cherry’s signature ponytail. In my attempt to truly do justice to Cherry’s tribute, I did my best to maintain her style and personality. She didn’t smile often, she would zone out at times during this piece and really get into the music; she was tiny and tough. While I couldn’t quite pull off the “tiny,” I dug into that part of myself that is intense and serious…and physical. A photo shoot with Steve DeMent got me into character as we tried, take after take, to recreate Wild Cherry’s famous promotional picture and I went through her signature moves, hoping for one good frame. We were very lucky to get several pictures that capture her intensity and exotic feel.

Legend Wild Cherry, and Coco’s brilliant recreation of that famous photo with the help of photographer Steve DeMent.

Fellow Austinite, costumer extraordinaire, and producer of the Bat City Bombshells burlesque troupe, Sherry Bomb, was hard at work examining the Wild Cherry costume Miss Indigo Blue so graciously let me borrow, and studying images of Cherry online. After hearing about my concerns, Sherry was quick to adjust the costume so I wouldn’t trip over the panel skirt or fall out of the cape. When I picked it up a couple of days before the show, it was covered in rhinestones and sequins. I couldn’t believe how much love and care she put into it. It looked just like Wild Cherry’s in its original color, and it was perfect!

I don’t think I slept at all the night before I performed during our Friday Night: Night of Legends. I hadn’t been this nervous is quite some time. I realized that because I was doing my best to “be” Cherry and not myself that the techniques I use to fall back on when I’m on stage were no longer available to me. I couldn’t wink and smile to get the audience on my side. I couldn’t start into an improvisational dance to get myself out of a jam without feeling like I wasn’t doing as authentic of a job as I could have.

I spent a considerable amount of time in the trailer with Angi B. Lovely stretching, putting on our makeup and finding ways to relax and get into character. The wine helped. I spoke to 2011 Reigning Queen of Burlesque, Indigo Blue for some guidance and to share stories about Cherry. Her Wild Cherry Tribute performances are stellar and it’s also apparent how our different experiences with Cherry make for different performances of her signature number. When it was time for me to go on…I reminded myself to dig deep, feel intense and sensual.

The lighting and sound were just perfect and lovely. Of course, there are always things I want to improve in my performances, but I was content enough in my show that I could rest easy that night…even though the biggest night of the festival was still upon us.

*** (back to Paul…)

Speaking of Sherry Bomb, she graciously allowed me to stay with her during the festival and then some. She pretty much spent the whole time I was there, sewing, rhinestoning costuming. In fact she was still sewing the beautiful costume she wore on Thursday night right up until we had to leave for tech rehearsal. She also got me hooked on the Dr Who reboot series (thank you, Sherry).

The TXBF performers are naturally mostly from Texas but there are always participants from around the country and the world including Canada, England and of course, Australia. Many electrifying acts wowed the audience. There’s nothing more exciting than seeing a crowd fully pumped up, and watching a performer mesmerize them all. Crimson Skye was one of many performers who certainly did that with her fabulous boylesque routine- and she picked up the award for Most Original in the process.

Those selected to perform in these festivals really bring their A-game, and it’s always apparent how hard they work back home bringing burlesque to the people, whether in a large dance hall/theater or the smallest of dive bars. It’s really an honor and a pleasure to be involved with such a vibrant community in Seattle as well as Austin (which may be my second burlesque home someday) and around the country. I’m always excited to meet new people and learn about their own unique burlesque histories.

On that note- I hope everyone attending and performing at the Kansas City Burlesque Festival and the New York Boylesque Festival this weekend and the Vancouver International Burlesque Festival the following weekend have a grand time.

What follows is a gallery of photos from TXBF 2013:

Day 2

Cora Vette learns some dirty sign language

Cora Vette from Denver-The Texas Burlesque Festival Emcee

Portland’s Baby Le’Strange

Cruel Valentine from Chicago-Audience Favorite on 4/12

Angi B. Lovely from Dallas- current Queen of New Orleans Burlesque

Camille 2000 performing on Legend night

Imogen Kelly from Sydney, Australia- Reigning Queen of Burlesque

Dainty Dandridge from Washington D.C.

Ruby Rage from New Orleans

Bat City Bombshells from Austin

Jasper St. James from San Antonio

Day 3

Blaze from Carrollton, TX

Lady Luck from Austin-Audience Favorite on 4/11

Ginger Snaps & Andylicious as The Flying Widows from Austin

Peggy de Lune from London-winner of Best Solo

Tiny D from Brooklyn-winner of Best Costume

Queertini Time from Austin-winner of Best Ensemble

Crimson Skye from London-winner of Most Original

Bobbie Burlesque from Hollywood, CA-winner of Best Use of Prop/Novelty

Franki Markstone from St. Petersburg, FL-winner of Best Tease

Ray Gunn from Chicago

Bazuka Joe from Chicago

Dirty Martini from NYC

Dirty Martini from NYC

Imogen Kelly from Sydney, Australia- Reigning Queen of Burlesque

Imogen Kelly from Sydney, Australia-Reigning Queen of Burlesque

Red Hot Annie from Chicago

Black Mariah from Dallas

Rosie Rawhyde from Corpus Christi

Emcee Cora Vette as Snow White

Please visit the complete POC Photo sets HERE and HERE, and click on the tag “Texas Burlesque Festival” below to read and view images from 2012 and 2011 here on BSP.

Madison Moone, Production Manager of Big Time! Burlesque (Photo by Matt Adamik)

Portland’s Big Time! Burlesque and musical paramour Orchestre L’Pow share a grandiose vision of glamour in their productions. “Think Henry Mancini meets The Cramps,” says Production Manager Madison Moone.

Moone, who has been producing in Portland since 2008, cut her burlesque teeth with one-woman show Madison Moone’s Burlesque Revue. Her shows were routinely backed by a live trio, solidifying her belief that the chemistry between band and burlesque is a vital part of exciting an audience, not to mention turning up the heat in a performance. Through these events she met bassist and future Orchestre L’Pow production partner and Musical Director Sean Hudson. Today, the team also includes The Infamous Nina Nightshade, who stepped in as Talent Coordinator when the much-loved Charlotte Treuse took up residence in New Orleans last fall. Creative direction is a collaborative effort each season, but with the help of sponsors such as Portland’s leading sex positive boutique She Bop and the addition this year of corporate sponsor Drambuie Liquor, Big Time! Burlesque is becoming a whole lot bigger. “This has enabled us to bring national and international headliners to our stage,” Madison explained. “This was one of the goals we set at the very first Big Time Burlesque round table discussion and we are so thrilled to be making that a reality”.

This Saturday May 4, NYC burlesque maven Jo Weldon will star in the second show of their 2013 season, La Femme Céleste. In addition to Jo’s long list of burlesque benchmarks (author of The Burlesque Handbook, headmistress of the New York School of Burlesque, co-founder of BurlyCon, Pink Light Burlesque, and the list goes on…), she is also a performance icon and a champion of honoring the histories of the many unruly women that came before the current wave of burlesquers. Much like Madison Moone and Orchestre L’Pow, Jo is a master of onstage sizzle.

La Femme Céleste (‘the heavenly woman’) will channel iconic goddesses from around the world. From Isis to Aphrodite, Cleopatra to Freya, performers pay homage to these often enigmatic figureheads of fertility, creativity, birth and death. Also sharing the stage will be Seattle’s very own Boom Boom L’Roux as well as the L’Pow! Company Dancers: Madison Moone, Itty Bitty Bang Bang, and The Infamous Nina Nightshade. Internationally renowned burlesque emcee Vincent Drambuie will host, and all dance routines will be performed to the “post-punk big band” sounds of Orchestre L’Pow!

Big Time! Burlesque Company Dancers (Photo by Casey Campbell)

Jo Weldon will also be teaching while in Portland- read about her May 4 afternoon class “The Living Glove” and pre-register through She Bop HERE (although the class itself will be at the Bossanova Ballroom).

Madison took some time to explain the unique symbiosis of band and burlesque (as well as how they connected with Jo “Boobs” Weldon):

Burlesque Seattle Press: Are Orchestre L’Pow & Big Time! Burlesque always paired?

Madison Moone: Yes, Orchestre L’Pow and Big Time! Burlesque are always paired. It’s true that the band does exist and work as its own entity. L’Pow was originally founded several years ago by our drummer Dain Hudson (Sean’s brother). They primarily worked in Seattle with a rotating cast of dancers. The band took a short hiatus for a redevelopment period and Dain handed the band over to Sean. Sean wanted to resurrect the project under a different guise; however he was living here in Portland. That’s around the time that we met on my project. He pitched the new model to myself and Charlotte Treuse, our Talent Coordinator before her move to New Orleans this past fall. What he pitched to us was the vision of a glamorous, full production, over the top stage show backed by a bad ass live band. Hence the name Big Time! Burlesque.

Orchestre L’Pow (Photo by Casey Campbell)

Charlotte Treuse, Big Time! Burlesque’s Talent Coordinator before her move to New Orleans this past fall (Photo by Casey Campbell)

BSP: Portland seems to have a good understanding of the power of live music matched with burlesque. It’s very potent! Why do you think that is?

Madison: I can’t speak for how others are using live music in their productions but I can tell what is potent about it for us. All three of us on the production team have a very strong connection with live music performance. Nina Nightshade has training in several styles of dance, most notably belly dance. Sean and I are both formally trained musicians in classical composition, jazz improvisation and rock ‘n’ roll.

In order to play live music or dance to live music you must develop the ability to connect with each other on stage. When jazz musicians improvise, they have a road map, so to speak, that they are working from, but to really make the music come alive they have to be listening to each other and looking at each other, paying attention to the moment…connecting…as if they were having a conversation with a friend. They feed off of one another. One player will finish the other player’s thought. The same connection must be present between the dancer and the musician. For example, if the drummer is really paying attention to what the dancer is doing he has the ability to give an extra accent to a bump or the guitar player can play a really dirty slide when she grinds. Using live musicians give us the freedom to turn the volume up on these “oh so special” accents.

Sean custom arranges all of the music for every single show. We are not just simply doing what the recording is doing. We can bring the finer details more forward; the dancer can make special requests regarding her needs for the vision of the act. Dancing to canned music, while it’s nice for precise tempo etc. can come across as robotic or too precise. In my opinion, because we as dancers have to listen to where the band is going, it forces us to be more present with the audience. They will always be directly affected by the connection between players and dancers on stage. It’s as if the audience lives vicariously through the band. They always go wild when a spontaneous interaction or flirt happens between dancer and band member; again it’s the connection in the moment that gets them, not the perfectly executed choreography.

BSP: Can you tell me a little about how you came to curate this “Goddess” themed show, its cast, and how Jo came to be involved?

Madison: As for the cast, we spent our first season working through a group of dancers that we were interested in working with. In our second season we decided to form a company. Our three principals include myself (Madison Moone), The Infamous Nina Nightshade (Bergamot Burlesque) and Itty Bitty Bang Bang (Rose City Shimmy). Our stage kittens include Hyacinth Lee and Lady Loaded Guns, both of whom have been with us for over two seasons. And last but certainly not least, Vincent Drambuie is our emcee. Vincent has been on board since the very first show and really acts as the glue. His sense of comedic timing is classic yet fresh. He reminds me of a cross between Jackie Gleason and Conan O’Brien.

Vincent Drambuie, Lady Loaded Guns, Hyacinth Lee (Photo by Casey Campbell)

As for the “Goddess” theme, I had the idea several years ago. I was just wrapping up my stint producing the solo show and just coming on board to produce Big Time! Burlesque. I may have even pitched it at the first table meeting, I can’t remember. But at any rate, the moment wasn’t right for it; other ideas were really taking off so I filed it away, with the hope that we could revisit it again. When we got the Drambuie sponsorship this fall, we knew we wanted to take the opportunity to develop new shows and bring in headliners. As I was looking at what the company already had existing in the rep, it seemed like the perfect time to develop it. Nina Nightshade had created an exquisite tribute to Cleopatra for a previous show and Itty Bitty Bang Bang has a luscious Jungle Goddess number involving a giant tiger. I was in the process of developing a Golden Goddess act and a tribute to Shakti the Hindu Goddess. The show was already in process, we really only needed to develop a few more pieces.

Itty Bitty Bang Bang (Photo by Casey Campbell)

The Infamous Nina Nightshade (Photo by Casey Campbell)

As for Jo Weldon’s involvement, we have been in dialog with her since last summer about coming to do a show. Of course, since Jo is in such high demand and our show schedule is relatively strict, we were having a difficult time nailing down a date for her to come out. When it came time to book the headliner for La Femme Céleste, we hadn’t talked to Jo in a while. Nina suggested we try Jo again and sure enough she had that date open. At the beginning of the year we had talked about how wonderful it would be to get her for this show, she’s the ultimate goddess! We just weren’t sure if the timing would work out. We are all bursting at the seams about her coming out; she really is perfect for this show!

Jo Weldon will appear with Big Time! Burlesque in Portland May 4 (Photo by Allen Lee)

Orchestre L’Pow! & Drambuie Present
Big Time! Burlesque
La Femme Céleste
starring Jo Weldon

May, 4th 2013
Bossanova Ballroom,
722 East Burnside Street, Portland, OR
Doors 7:00pm / Show 8:00pm / 21+

Tickets on sale now:
www.bossanovaballroom.com/event/orchestra-lpow-2

******

Speaking of Orchestre L’Pow, there always seems to be less than six degrees of separation when it comes to Portland and Seattle: Paula the Swedish Housewife was in an early incarnation of the band, which led to their prominent feature in the 2008 documentary A Wink and a Smile, in which Loren Dutton and Dain Hudson wrote some original music for the film.

In case you haven’t heard, A Wink and a Smile director Deirdre Timmons is starting those big wheels of pre-production turning for her next film: KINGS. The movie will be a fictitious romp following a group of male performers vying for the title “King of Boylesque”. Recently Portland’s Russell Bruner appeared at what functioned as something of a kickoff show for the film in KINGS: A Boylesque Extravaganza at the Triple Door. You can catch footage of Russell from that show alongside boylesque titans Waxie Moon, Captain Kidd, Evil Hate Monkey, and the Stage Door Johnnies in the teaser video over HERE.

You’ve heard the saying it takes a village…well it takes a village, a dedicated burlesque community, and a whole bunch of ‘cheddar’ to make a film. Deirdre needs our help to get this movie’s engines started- please get on board early and make a donation that will help to immortalize this über-exciting time in boylesque history. Support KINGS HERE.

Australia’s Captain Kidd appeared in KINGS at the Triple Door.

This weekend!

The clouds have lifted, the sun is shining, and there’s burlesque royalty sashaying through the springtime hamlets of Seattle and Olympia. Portland’s Russell Bruner (Reigning King of Burlesque 2012) and Chicago’s Michelle L’amour (Miss Exotic World 2005) will appear at West Hall on Thursday, May 9 and then continue the royal procession on over to Olympia’s historic Capitol Theater on Friday, May 10.

Seattle’s Ultimate Grand Supreme will feature Kitten LaRue (Producer and Head Bombshell of burlesque supertroupe The Atomic Bombshells), Lou Henry Hoover, hostess extraordinaire BenDeLaCreme, plus more surprises. Inga Ingénue (Miss Viva Las Vegas 2011) will perform the act that served as her step down number from her coveted Vegas title.

Kitten recently explained how she came to know Russell and Michelle: “I originally met Russell because he auditioned for Freedom Fantasia the first year we were casting the show! We of course LOVED him, but he had a schedule conflict with the show dates. As for Michelle, she and I first met when we were both asked to perform at the Legends Ball at Burlesque Hall of Fame in 2008. I did my “Feline Fantasia” act (a tribute to Lily Christine) and I was absolutely blown away by her Sally Rand tribute fan dance….one of the most gorgeous acts in burlesque. I’m excited that Michelle will be bringing two acts that Seattle has never seen before!”

Michelle L’amour is a modern day trailblazer- she’s been performing since 2002 and has captivated audiences on five continents with her singularly glamorous style, not to mention her fabulous appearances on multiple television shows (most recently, “In the Bedroom” on the Oprah Winfrey Network). Classic pin-up photographer and Bettie Page protégée Bunny Yeager featured Michelle in her recent book- a top honor for any burlesque performer. Rising burlesque starlets from miles around are instructed in technique for all skill levels at Michelle’s popular Studio L’amour in Chicago… the city which is home to the flagship chapter of Naked Girls Reading….which as it happens, was founded by Michelle and Franky Vivid. Ms. L’amour is quite an in-demand showgirl, so catch her here in the Northwest while you can.

Kitten LaRue Presents:
ULTIMATE GRAND SUPREME!
A Night of Burlesque Royalty
Thursday, May 9th
7pm and 10pm
West Hall Theater
The Oddfellows Building, 2nd Floor
915 E Pine Street, Capitol Hill
Get tickets HERE…$26 in advance, $30 day of show
VIP TABLES AVAILABLE!

***

The Olympia show on May 10 will feature another round of performers, including Miss Indigo Blue (Queen of Burlesque/Miss Exotic World 2011) and several of the Seattle performers on their way to perform at the Burlesque Hall of Fame next month…including our very own Sydni Deveraux, who will be competing for Reigning Queen 2013.

Here’s the skinny:

Miss Indigo Blue and Gotta Jones Productions present an extraordinary night of royally raunchy burlesque: The Reign of Fame! ONE NIGHT ONLY at the historic Capitol Theater in downtown Olympia. Doors 8 p.m., show 9 p.m. 18+, 21+ bar with ID!

Starring 2005 Reigning Queen of Burlesque, Michelle L’amour (CHI) and 2012 King of Burlesque Russell Bruner (PDX)!

Hosted by The Illustrious Ms. Hattie Hotpants!
Featuring special guests:

Seattle’s Sapphic Sweetheart MISS INDIGO BLUE!
(Miss Exotic World 2011)

“Poetry in Motion” PARIS ORIGINAL
(Mr. Exotic World Contestant THIS JUNE!)

The gender-blending queer lady boylesque performance art solo stripping sensation WAXIE MOON!
(Mr. Exotic World Contestant THIS JUNE!)

Read more about the show by visiting our friends at Olympia’s Own TUSH! Burlesque HERE, and get advance tickets over HERE.

Through the Looking Glass: the Burlesque Alice in Wonderland will enchant at the Triple Door May 15-18 (All photos by Scott Butner)

This week’s Pick of the Glitter is a classic tale cleverly re-imagined and skillfully modernized by Lily Verlaine & Jasper McCann: Through the Looking Glass: the Burlesque Alice In Wonderland visits Seattle’s Triple Door May 15-18. Now in its fifth season, there are still a few surprises and new twists down the rabbit hole- watch for a new ‘face card’ making an appearance at The Looking Glass nightclub, as well as Paris Original cast as the Knave of Hearts. “The ‘Butterfly’ duet between Lily and Trojan Original has changed a bit…a metamorphosis, as it were,” hinted Jasper. “There are different thematic elements to look for.”

Framing the story in a nightclub setting allowed the producers to realize the “adult” Alice as well as certain aspects of the story’s more unsavory characters, who weren’t quite so charming as memory may serve. “We were trying to give a different musical context to the characters so the audience could forget about the ‘Alice’ they’ve been forced to get to know, and meet these new ideas of the characters with an open mind,” Jasper explained in our 2011 interview on the evolution of the show. “Sure, The Queen of Hearts still loves beheading people, but that’s dark stuff. The original book, retitled, should be ‘Through The Looking Glass and all the jerks Alice met there’. The Mad Hatter and the March Hare are NOT jovial, happy-go-lucky sing-song characters in the book. They’re horrible. And so are many of the other characters… they’re pompous, rude, indifferent, contrary, and aggressive. So take that, and boil it down, make it glamorous and shiny, and you’ve got yourself a show.”

Through the Looking Glass: the Burlesque Alice In Wonderland mixes jazz with exotic music and dance styles as Alice discovers what wonders lie beyond the velvet rope at Wonderland’s exclusive nightclub, The Looking Glass. Get tickets and more information HERE, and what follows are five very, very good reasons to spend the weekend following Alice:

Lily Verlaine (Photo by Scott Butner)

Waxie Moon (Photo by Scott Butner)

Miss Indigo Blue (Photo by Scott Butner)

Jasper McCann (Photo by Scott Butner)

Inga Ingenue (Photo by Scott Butner)

Seattle’s Paris Original will compete next week in Las Vegas in the”Best Boylesque” category (Photo by Eli Schmidt)

~ Written by/interview by Paul O’Connell (POC Photo)

Another Burlesque Hall of Fame Weekend approaches and with that a new Reigning Queen of Burlesque will crowned, along with King of Boylesque, Best Duo, Best Group and Best Debut. The 23rd Annual Tournament of Tease takes place June 1 at the Orleans Casino and Hotel in Las Vegas, but the weekender kicks off with the star-studded Movers, Shakers & Innovators showcase on Thursday, followed by the 56th Annual Titans of Tease Reunion showcase on Friday, and finally closing out with the Icons and All-Stars showcase on Sunday.

The Pacific Northwest is well represented on all 4 nights: Russell Bruner, Sandria Dore, and Swing Time from Portland; Nicky Ninedoors, Brother Keys, Sweet Soul Burlesque, Lola Frost, Melody Mangler, Villainy Loveless, Ruthe Ordare, and Burgundy Brixx from Vancouver BC; and from our own backyard Velvet Ice, Trojan Original, Iva Handfull, and Miss Indigo Blue will represent Seattle. Paris Original and Waxie Moon will go head to head (among other great performers from around the country) for King of Boylesque, and Sydni Deveraux will compete for the coveted Reigning Queen of Burlesque title.

We asked the Seattle performers a few questions about performing and competing at this year’s BHoF weekend. First up this week, we bring you Paris Original.

A little background…Paris, a professional dancer, first arrived on the burlesque scene in 2009 in Paula the Swedish Housewife’s production House of Thee Unholy 3. Since then he has appeared in a variety of shows including Lily Verlaine and Jasper McCann’s Land of the Sweets: The Burlesque Nutcracker, Burlesco Divino, L’Edition Francaise & Through the Looking Glass: The Burlesque Alice in Wonderland. Paris also appeared in Stripped Screw Burlesque’s Disney After Dark and Clown Stripper Productions That’s F*cked UP! He is also one of the founding members of Seattle’s male burlesque troupe Mod Carousel and performs regularly at The Pink Door.

Paris Original in Through the Looking Glass: The Burlesque Alice in Wonderland (POC Photo)

POC: What’s it like to be chosen to perform in the Best Boylesque category? And what’s it like competing with a fellow Seattle-ite, Waxie Moon?

Paris Original: I feel so honored to have been chosen to compete. I was in such disbelief when I first read the confirmation letter that I had to read it several times to make sure I wasn’t mistaken. I’ve really been trying to push the competition aspect out of my head. I’ve done a few dance competitions in the past and always found that focusing on competing was distracting and ultimately detracted from my performance, so I’m just trying to focus on my performance itself.

I love that all four of us in the category this year [Mr. Gorgeous, Ray Gunn, Waxie, Paris] are such different performers who offer very different things to boylesque and I’m super excited for the opportunity to share what I do with everyone at BHoF.

As for competing against a fellow Seattleite, I’m just proud of us both for getting into the competition at all. I’m really proud of the Seattle scene in general for having such great representation at BHoF this year!

POC: What influenced your decision to choose the particular act you submitted to BHoF?

Paris Original: The act has always been a crowd pleaser. I’ve received many spontaneous standing ovations for that number and often times burlesque performers in particular get really excited about it so out of all the acts in my repertoire it seemed the best suited for BHoF.

Paris Original (Photo by Charlie Ainslie)

POC: Before your first burlesque show what were some of your impressions of burlesque?

Paris Original: When I was first exposed to burlesque I remember thinking it seemed really fun. And rowdy. I liked that there was so much room for artistic freedom and exploration of gender representations. It’s an art form that doesn’t feel as constrained as other forms of performance art, and dance in particular, can be.

POC: Do you have any goals you would like to reach in burlesque or any other performing art?

Paris Original: My current goals are to grow my success and travel opportunities. I have so many ideas that would require much bigger budgets than I currently have at my disposal. It would be so lovely to get to a point where I can make those ideas come to life and share those ideas with the world!

Paris Original in Stripped Screw Burlesque’s Disney After Dark (POC Photo)

Waxie Moon in “Bolero” Photo ©Tim Summers

~ Written by/interview by Paul O’Connell (POC Photo)

Burlesque Hall of Fame weekend is now less than a week away. Performers from around the world will converge on the Orleans Hotel and Casino in Vegas for four days and nights of nonstop burlesque sexiness, enthralling competition, and pool parties galore.

The highlight is the 23rd Annual Tournament of Tease which crowns winners in a variety of categories – one particularly near and dear to our hearts is “Best of Boylesque”, in which two of the four competitors for the title “King of Boylesque” are from Seattle. This year’s competitors include Paris Original (Seattle), Ray Gunn (Chicago), Mr. Gorgeous (NYC) and of course, the incomparable Waxie Moon (Seattle).

This week Burlesque Seattle Press has been talking with the Seattle performers competing at this year’s BHoF. We’ve already highlighted Paris Original and today we focus on Waxie, the “international gender-blending queer lady boylesque performance-art stripping sensation!”

Waxie has certainly been as busy as any artist or performer can be this past year. Last June he gave an amazing performance at On The Boards with his 17 minute endurance strip, “Boléro”. (Please do this again Waxie). He choreographed “Miracle!” (a re-envisioning of “The Miracle Worker” created and directed by Dan Savage) which had a run at The Intiman Theatre last summer. There was the DVD release of the 2009 documentary “Waxie Moon” and the theatrical release of “Waxie Moon in Fallen Jewel” (both films were directed by Wes Hurley). Central Cinema’s monthly interactive screenings of “Waxie Moon In Fallen Jewel” have been hugely successful as well. Waxie also performed in Lily Verlaine and Jasper McCann’s Land of the Sweets: The Burlesque Nutcracker and Through the Looking Glass: The Burlesque Alice in Wonderland.

Waxie as The Cheshire Cat in Through the Looking Glass (POC Photo)

Waxie in Land of the Sweets (POC Photo)

He also found time to appear in last year’s Seattle Erotic Arts Festival, Kings: A Boylesque Extravaganza, Boys, Bois, Boyz and most recently the 2nd Annual New York Boylesque Festival. He appears regularly at the Pink Door and performs as one-third of Dance Belt. All this and he continues to teach at Miss Indigo Blue’s Academy of Burlesque. With a year like Waxie’s, inclusion in the “Best Boylesque” category is the luscious cherry on top of a huge, glittery, rhinestoned sundae.

Aside from the long list of Waxie’s accomplishments (we could go on and on), it’s easy to see why he was invited to compete. Waxie’s courageous approach and fiercely unique artistry are hugely influential to anyone that sees him. We wish Waxie and all the performers best of luck at this year’s competition.

And now for our interview… I asked Waxie about this year’s inclusion at BHoF:

POC: What influenced your decision to choose the act you submitted to BHoF?

Waxie Moon: I created the “Purple Man-Eater” act with the idea of submitting it to BHoF this year. I felt the purple gown and gi-normous tulle boa (created by the brilliant Mark Mitchell) was impressive and glamorous enough for the Vegas stage and competition. I think the boa is practically Catherine D’Lish scale. It’s HUGE. I also selected the song for the second part of the act (Muddy Waters’ “Mannish Boy”) because it felt appropriately representative of the idea of “boylesque”.

POC: Please share your thoughts about performing in the “Best of Boylesque” category. What’s it like competing with a fellow Seattleite?

Waxie: I am beyond thrilled to have been accepted for the competition. I think this is the 5th year I have applied for “Best Boylesque”. For that reason, I can honestly say I’m excited for the opportunity just to compete. I am also excited about my boylesque brothers. I think the crowd and judges will go mad for Paris’s extraordinary dancing. Ray is sultry and an exceptional mover, and Mr. Gorgeous is A.DOR.A.BLE. It’s an inspiring, exciting, and yummy group of men to get to share the stage with.

Waxie Moon (POC)

POC: Do you have any goals you would like to reach in burlesque or any other performing art?

Waxie: I am intent on sharing this extraordinary art form as widely as possible through performance and teaching. Combining sex and humor is an incredibly powerful tool for personal transformation. I would love for more people to experience it, as performers and/or audience members. I am also passionate about queer visibility; Waxie celebrates gay Pride EVERY DAY. Honestly, my goals are too many to mention, but they include everything from feature films to a Waxie jewelry line called “The Essence of Luxury”.

Waxie performing at this year’s Moisture Festival (Photo by John Cornicello)

(Photo by John Cornicello)

POC: You got involved in burlesque originally because you were struggling (artistically speaking) as a dancer and wanted to shake things up, and you decided to take a 101 class at The Academy of Burlesque. What does this mean to you now, since burlesque has been such an unexpected and wildly successful outlet for your art?

Waxie: I have become a fuller person in every way through the exploration of the art of burlesque. I am honored to be part of an extraordinary legacy and an evolving art form. I can’t wait to connect with my legendary friends in Vegas and am honored to represent Seattle’s vibrant gender-queer burlesque scene at this international festival. Also my father is coming to support me. That means so much to me. He’s Waxie’s biggest fan.

Waxie Moon in a quiet studio moment (POC Photo)