Ruby Mimosa (By Debora Spencer Photography)

Want to add a little sway to your summer? Look no further than the all-level hula class brought to you by Ruby Mimosa (aka “The Island Flower”) over at the Academy of Burlesque. The four week class runs July 3 through 24 for just an hour and a half each Wednesday, and drop-ins are welcome.

Ruby Mimosa was born in Kaneohe, O’ahu and is the fifth generation of her family to be born and raised in Hawai’i. From the age of three Ruby studied dance, including hula and 13 years of ballet. Aside from these lifelong passions, Ruby also studied fashion merchandising at the University of Hawai’i. As it happens, seven years ago this week Ruby transferred from Betsey Johnson O’ahu to the boutique’s Seattle location- bringing with her just a few suitcases and plenty of Aloha Spirit (“the coordination of mind and heart within each person”, according to the Hawai’i Revised Statues).

And we’re fortunate that Ruby made the journey. Earlier this week she explained why she wanted to teach a hula series and what it means to her. “The rough, Wikipedia definition of Hula is ‘a dance form accompanied by chant (oli) or song (mele), developed in the Hawaiian Islands by the Polynesians who originally settled there‘,” she explained. “It’s story telling, with your body. Just like in burlesque where we have some sort of narrative we are telling with our costume and movements; hula tells a story through one’s body, arms, and song.”

“Being born and raised in Hawaii, there’s a lot of history in hula within my family,” Ruby continued. “I had grown up dancing the Hula. Actually, as a child you had a required class in school called ‘Hawaiiana’. There was a kumu, or teacher, and a few times a week you’d have that class, learn about Hawaiian culture – the folklore, language, the specific characteristics to each island, Hawaiian games, and of course the dance – Hula.”

Ruby’s great great grandfather, Fritz Herman, started The Kodak Picture Hula Show in 1937 at the Waikiki Shell. The performance venue linked Hawaiian-style entertainment with photography by providing a hula show during the day, where traditionally the dance was only seen by tourists venturing out to evening luaus at resorts. Initially the Kodak Hula Show featured five dancers and four musicians, but the attraction quickly grew in popularity and expanded to a cast of 20 women, six men, and over a dozen musicians. The Kodak Hula Show ran for over 60 years.

Image from the Kodak Hula Show in 1997 (Star-Bulletin, 1997)

“I have a strong connection to the hula, and even though I may be Haole girl (a white person)- I have Hawaiian soul and pride,” Ruby said. “I had always enjoyed Hula’s expressive, challenging, graceful, and strong tones. The soft sway in the hips as you glide across the grass or sand and the sharp pop of the knees in the uwehe, to that sexy grind of the ami and your own embrace and love of one’s body and shape. This dance comes from the heart, and you can see it from the feet and hands up to the face. You connect with your audience and draw them into your dance. I think that’s why I was immediately captivated and have grown so fond of burlesque. There are so many similarities… at least to me. I look forward to sharing this dance and art-form!”

Here are the details:

Hula Series with Ruby Mimosa
4 Wednesdays, 7-8:30pm
July 3 – 24th

Want a little tropical stay-cation? Look no further than here, Hula Hands & Hips! Miss Ruby Mimosa will help you achieve that soft dewy glow of the Pacific Islands right here in Seattle. Trained in the art of Hula, Ruby teaches the fundamentals and basic movements of this stunning storytelling dance form. Enjoy the classic and tropical tunes of Hawai’i while engaging your core strength and graceful beauty. Movement friendly clothes are preferred, and grass skirts are optional!

Class open to all levels, oriented towards beginning dancers who want a fun workout! $65 for the series, $17 drop-in. For more info, visit the event page: https://www.facebook.com/events/131397980385845/, or check out the Academy’s curriculum page.

****************

Our second pick of the week (where incidentally, you’ll also find Ruby representing The Burlesque Boutique at the merch counter) is way more fun and only a little bit safer than fireworks: Freedom Fantasia. Now in its third season, DeLouRue Presents is mounting this year’s show for three nights/four shows at the Triple Door. Freedom Fantasia reclaims patriotism by taking a closer look at American history with honesty and high camp – exactly what we love from the production trio of BenDeLaCreme, Lou Henry Hoover, and Kitten LaRue. There will be buffalo, pasties, and drag – and what would the 4th of July be without a little tap dancing and historical rap?

Here are the details:

Freedom Fantasia
July 3rd, 5th (9pm), and 6th (8pm and 10:30pm),
The Triple Door 216 Union Street, Downtown Seattle
Tickets: $27-$33 www.tripledoor.net

DeLouRue Presents, a production company from Kitten LaRue (The Atomic Bombshells), BenDeLaCreme (TUCK!), and Lou Henry Hoover (The Cherdonna and Lou Show) invite you to experience their third annual Fourth Of July spectacular…featuring a venerable cast of Seattle luminaries, including WINNER of RuPaul’s Drag Race Season 5: internationally-beloved drag and theatrical sensation, JINKX MONSOON!

STARRING:
BenDeLaCreme
Kitten LaRue
Lou Henry Hoover
Jinkx Monsoon
Major Scales
Cherdonna Shinatra
J Von Stratton
Jim Kent
Markeith Wiley

Freedom Fantasia 2013!

Maui’s black light troupe The Ultraviolets

This week’s most unique show also happens to be the most logistically challenging: The Can Can presents The Ultraviolets Black Light Burlesque at The Can Can Thursday July 11. The troupe of female clowns hail from Maui and have worked long and hard to launch their first West Coast tour. They’ve purchased a van just for the occasion and are ready to bring their brand of sensual movement and illusion under black light to the burlesque stage, particularly in a city where cabaret, burlesque, and dance so freely intermingle.

Founding member Rachel DeBoer has a BA in Theater Performance from the University of South Florida, but has lived on the Hawaiian island of Maui for the last twelve years. There she started a successful face and body painting business called Fabulous Faces as well as a black light theater company Next Level Theater Productions that specializes in black light mythological Hawaiian storytelling. “I always loved black light theater for its ability to make the invisible visible…to show magic literally, through floating objects…thought bubbles…energy…whatever one could dream up,” Rachel explained. “Our style of burlesque is more comedic, a parody of our relationships, awkward situations, what it’s like to be a woman. We are based heavily in storyline, puppetry, magic illusion, visual surprises…”

“When I returned from [a solo soul-searching trip to] Peru I wanted to create something I’d never done before,” Rachel continued. “The Ultraviolets emerged in December of 2011. We did show after show all through 2012 combining our unique surrealistic theater with dj parties at our local theater, The Iao Theater, until we ended up on the cover of the Maui Time Weekly, our island’s biggest paper. Recently we banded together with the Kit Kat Club, another more dance and song [oriented] cabaret troupe on Maui, and the Cherry Blossom Cabaret from O’ahu to create the Hawaii Superstars of Burlesque. We three troupes have performed twice at the Iao Theater as a unit, interweaving and juxtaposing our show styles together.”

Rachel explained what the burlesque scene is like in Hawai’i: “Burlesque in Hawai’i, or rather Maui, is pretty much us and the other two troupes I mentioned. In Maui burlesque is not allowed in places with liquor. In fact there are very strict rules about burlesque, which are rather antiquated in my mind. Pretty much everything we do is actually not technically allowed in a bar as it’s too suggestive for the Maui Liquor Commission. There have been times that we have been asked to censor ourselves in order to perform at certain venues, which I’ve refused. The only venue we really perform at without risk of being fined (or rather the venue being fined) is The Iao Theater, which serves no alcohol, so freedom of expression is still allowed there. Imagine my relief and joy knowing that going on tour would allow us to fully express ourselves at a variety of venues without punishment or judgment…that in Seattle burlesque is celebrated rather than outlawed.”

The Ultraviolets Black Light Burlesque will also feature appearances by Seattle’s own Boom Boom L’Roux and Randi Rascal.

The Ultraviolets Black Light Burlesque
Thursday July 11, 2013
The Can Can, at Historic Pike Place Market Seattle
94 Pike St.
Advance tix at http://www.thecancan.com
$12 GEN/ $15 VIP
Doors open 9:30pm
Show at 10pm

This Thursday July 11 at Can Can

This poster is seriously spooky and therefore needs no caption.

Temperatures are rising, and with it Stripped Screw Burlesque’s propensity for lunacy and wild fits of lascivious behavior. Their savage new production, Midnight in the Garden of Glitter and Heels, was actually the original working title for the Screws’ successful Undressed to Kill show. When the material took the troupe in a different direction Midnight in the Garden of Glitter and Heels was scrapped as a title. Founding member Violet Tendencies – never one to shy away from her darker impulses – couldn’t quite set aside the more insidious themes the sidelined title and concept brought to mind.

Violet Tendencies (POC Photo)

“We all love the Southern Gothic images it evokes. Most of the troupe have an affinity for dark and spooky acts which don’t fit into our other narrative shows so we are thrilled to put together a show featuring some older, darker acts, as well as brand new material and a healthy dose of humor,” Violet explained. “Evilyn Sin Claire does dark, creepy and shiveringly sexy like no one else – so she was an obvious [choice for a] guest. We’ve all also worked with Jesus la Pinga in other shows and utterly adore him! His impeccable sense of timing and humor make a perfect foil to the dark acts and I can’t wait to see him in action in our graveyard.”

Midnight in the Garden of Glitter and Heels takes place Saturday, July 20 at the Columbia City Theater. Get tickets HERE.

Lady Drew Blood

Seraphina Fiero (Meneldor Photography)

Stella D’Letto (Photo by They Are Only Pixels)

Evilyn Sin Claire (Nark Photography)

Jesus la Pinga (Photo by Starla Lancombe)

Mod Carousel: Thursday July 25 at the Rendezvous Jewelbox Theater

This week’s top show pick is a no-brainer for sheer manpower alone. The spectacular three-headed monster that is boylesque troupe Mod Carousel (featuring the unparalleled talents of the Luminous Pariah, Paris Original, and Trojan Original) lands at the Rendezvous Jewelbox Theater on Thursday, July 25 at 7:30pm. The press release promises to deliver “a salty adventure full of muscles, mustaches, and striptease”- a heady cocktail if ever there was one. The masculine/maritime puns are plentiful- but the talent these lovely gentlemen possess is as serious as it gets.

Sydni Deveraux, who recently pocketed a shiny, sizeable, and well-deserved trophy for “1st Runner Up: Reigning Queen of Burlesque” in Las Vegas, will host this performance. (Incidentally, to see Sydni- and her constellation of tattoos- perform next locally you’ll have to attend the annual Seattle Tattoo Expo August 9).

Sydni Deveraux (Photo by AKoch Photography)

Go-Go Harder will join Mod Carousel as a very special guest. A little more about Go-Go:

Go-Go Harder’s special brand of Boylesk is theatrical and irreverent, campy and comedic, and most especially glittery and gritty.

The love child of Liberace and Tom of Finland, Harder has been showcased nationally in New York City, Key West, Minneapolis, and even in his home state in Fargo, North Dakota. Harder also shakes his Boylesk booty abroad including Warsaw, Poland for the 2010 Europride Celebration and in London where he headlined the 2011 All Male Boylesque Show for London Burlesque Week.

Go-Go Harder was also crowned “Best International Performer” at the World Burlesque Games in London, May 2012. Harder continues to perform, teach, and produce Boylesk in New York City, spreading his love of leather, glitter, and of course, g-strings, wherever he can.

Go-Go Harder (Photo by Hugo Harley)

SeaMen: A Maritime Boylesque Revue
Date: July 25th, 2013
Time: Doors 7pm, Show 7:30pm
Location: The Rendezvous Jewel Box Theater – 2322 2nd Ave – Seattle, WA
Tickets: $15 in advance, $20 at the door

For tickets and more information, click HERE.

And…speaking of Mod Carousel…and Sydni…and Caela…have you seen this???

Wanna meet the man, the myth, the legend?

This week a person near and dear to our hearts at BSP – partner in crime Paul O’Connell of POC Photo – is the focus of an artist-curated display of photography over at Tigerlily Salon. Featuring a selection of iconic images of Seattle’s vibrant burlesque community, the show will also include a little star power in the form of live models The Shanghai Pearl, The Luminous Pariah, Wiggy Stardust, Seraphina Fiero, Cherry Manhattan, and Miss Kitty Baby.

Violet Tendencies of Stripped Screw Burlesque dreamed up the idea for a showcase recognizing Paul’s work and dedication to the performers that he photographs, envisioning a collaborative event between photographer and muse(s).

“I’ve had a few photo shows before, but this the first time I’ve had a show like this where the subjects in the photos (who happen to be fabulous burlesque performers) perform for and interact with the crowd, so I’m excited to see that,” Paul explained. “I wanted to show a variety of photos in terms of the style of the photo, color treatment, lighting etc as well as the subject in the photo; how they’re posing, their expression, costume, etc. And of course these photos are some of my favorites.”

You can read about Paul’s background in a previous feature called “What’s His Problem?” here at BSP. If you’d like to attend the party, please inquire with Violet Tendencies at my.violet.tendencies@gmail.com for invite availability and info. “A Festive Showcase featuring the Burlesque Photography of Paul O’Connell” takes place Thursday, August 1 (6pm-10pm) at Tigerlily Salon (2241 15th Ave W, Seattle WA 98119, next to Victory Studios in the Interbay area).

Here’s a few images that may make appearances – only way, way larger? You’ll just have to see…

Seraphina Fiero (POC)

Cherry Manhattan (POC)

Hai Fleisch (POC)

Mercury Troy (POC)

*****

Also coming up this week- it’s the much-anticipated return of Black Lodge Burlesque: A Night of Cabaret Inspired by David Lynch. The brilliant production kicks off at Re-bar August 2-3, and heads to the producers’ home base in Portland August 8-9 at the Star Theater.

My log has something to say too.

Vera Mysteria on Black Lodge from Marcella Joshlin on Vimeo.

In case you missed the show last time around, here’s a sneak peek:

Laura “wrapped in plastic”- and Bob, played by Baby Le’Strange (POC Photo)

Hai Fleisch as Laura Palmer from Twin Peaks (POC Photo)

Portland’s Lady Stockholm as the Elephant Man

Burk Biggler as “The Arm” (POC Photo)

Baby Le’Strange in dual roles as Dorothy/Frank from Blue Velvet (POC Photo)

Dixie Evans 1926-2013

As word spreads quickly around the international burlesque community, most of you have heard that Dixie Evans has passed away at a Las Vegas assisted-care facility after suffering a stroke earlier this year. It is with great sadness that we report the news – it’s already been a very sad week at BSP as I have recently lost a personal friend (back home in Texas), and naturally have been doing a lot of reflection on the incredible importance of cherishing the moments we have with those we love, while we have those moments to enjoy.

I had the extreme pleasure and privilege of spending some time with Dixie while interviewing her in Seattle back in early 2011 when she appeared at The Swedish Housewife’s Gypsy Centennial. Despite her somewhat frail condition at that time, I found her to be an extremely sunny personality. ‘Sunny’ and ‘light-filled’ being the first two adjectives that come to mind. Our conversation ran way over the allotted time we were given, but she had so many stories and so much to say it just didn’t feel like an interview; it felt like a guided tour through Dixie’s reminiscences of her long and unconventional life. I was sitting on a sofa across from Dixie for the first part of our talk, but as we began flipping through her photo book I curled up with my legs tucked under me at Dixie’s feet. And that was how the rest of our conversation went. Me, listening intently at the feet of this lovely, elderly glamour girl, and Dixie moving back and forth from subject to subject, memory to memory, in a flood of words so brisk that it was almost hard to keep up.

As a result, the transcript from our interview was an incredibly long and unwieldy thing; but ripe with many pearls of Dixie wisdom and Dixie observations. She was funny, she was pensive, and at times she was a little melancholy about the passing of time and life on your own out in the desert. It was a moving afternoon. I remember when we said goodbye, she was stepping into an elevator with Laura Herbert at her side. As the doors began to close, Dixie turned back to face me and suddenly she grinned mischievously and gave me a secret wink. It was a bona fide showgirl gesture and it made my heart skip a beat.

I hope to once again revisit that long and winding transcript and share a little with you all in the coming weeks. Thank you to Dixie for that memorable afternoon, and for a memorable life.

A little gift from Dixie.

Mulder & Scully (The Shanghai Pearl and Jake Groshong) Photo by Jules Doyle

~ Written by Jessica Price

Three weeks from the launch of her brand new show The Burl-X-Files, the effusive dynamo that is Jo Jo Stiletto was cool as a cucumber when we met on a warm summer day to talk all things Mulder and Scully. At that point in the process the acts were steadily pulling together, along with the buildup of anticipation for Jo Jo’s next major event after the successful Whedonesque and Geeklesque Unites productions. But the actualization of The Burl-X-Files has been a long time coming. Nearly two years ago Jo Jo’s nimble brain began to fixate on the idea of a show inspired by the long-running, paranormally-obsessed television series The X-Files. While wrapping up a presentation at Nerd Nite in Seattle, Jo Jo made an offhand remark about a possible next show paired with a slide from the series; to put it mildly, the crowd went nuts.

The X-Files first aired September 10, 1993, but like the “dream of the nineties” (as Jo Jo lovingly refers to it) the series had fizzled out and lost most of its fanbase well before its final episode on May 19, 2002. The blame was placed on everything from audience viewing preferences post-September 11 to more plausible issues with cast changes and increasingly poor writing. (There were questionable X-Files films in 1998 and 2008, one of which this writer will personally defend, but I digress). For a very special stretch of the 90s when American pop culture was swirling with a heady mix of conspiracy theories, internet chat rooms, rumored alien abductions, cyber punks, and government suspicion, the show was a thrilling weekly indulgence. Even The X-Files’ opening sequence contained paranoid, blink-and-you’ll-miss-it messages: Trust No One. They’re Watching. The Truth Is Out There.

Meanwhile in the Northwest, a pre- “Stiletto” version of our future producer Jo Jo first caught the series while attending the University of Oregon. Connecting with the spirit of the show (and in particular, with 90s heartthrob Agent Fox Mulder and strong, brainy female lead Agent Dana Scully), Jo Jo began organizing viewing parties in her dorm. With cropped red hair and a thrift store version of Scully’s FBI-appropriate business suit, Jo Jo found both a new circle of friends and a welcome distraction in geeking out on The X-Files. For a time Jo Jo entertained ideas of becoming a forensic scientist until journalism and theater eventually won out over the prerequisite chemistry and science she knew went with forensics territory. “Gotta know your strengths, and that was not one of them,” Jo Jo recalls. “I think I didn’t want to be a forensic scientist; I wanted to play one on television.”

Jo Jo Stiletto and “David Duchovny” in the 90s (Photo courtesy of Jo Jo Stiletto)

After college, Jo Jo moved to Seattle and distanced herself from the faltering show, (not unlike David Duchovny did at the time, taking a large part of the show’s audience along with him). Exploring her newfound adulthood while embarking on a career in advertising, she became involved with Seattle’s fringe theater scene and eventually fell in with the tough broads of Rat City Rollergirls. She also came across Seattle burlesque troupe the Gun St Girls, and within six months had signed up for Miss Indigo Blue’s Burlesque 101.

But as any true obsessive can attest, though the action figures, dioramas, and other badges of fandom may be temporarily stuffed into the darkest corner of the closet, they never truly leave their “host” (to use the parlance of The X-Files). By the time Jo Jo started producing shows, the burlesque that she naturally gravitated to was born of fandom and a “new” hybrid of pop culture-referencing striptease called nerdlesque.

Following her hugely successful Whedoneque Burlesque (inspired by the works of Joss Whedon), it was time to finally come clean about her love for The X-Files. Paying homage to a twenty year old show without being obscure would be tricky as well as deeply personal; Jo Jo realized the way to develop the show was to call in the professionals (i.e. trusted associate producers and close friends dubbed ‘The Syndicate’). The idea began to take shape that The Burl-X-Files should feel evocative of both “monster of the week” and myth arch episodes with visitations from some familiar characters, but a brand new story would weave the acts together. Though spoilers are carefully guarded to keep things interesting, Jo Jo will say that the show is framed by Mulder and Scully investigating paranormal activity in a burlesque theater. “To some the show will feel like a bit of a genre spoof, trying to capture the tone and feeling of a conspiracy/horror/drama/sci fi shows from the 90s and beyond. To others it will be a walk down memory lane,” Jo Jo clarifies.

The Lone Gun Ladies: Scarlett O’Hairdye, Tootsie Spangles and Sailor St. Claire (Photo by Jules Doyle)

The Smoking Man, played by Bolt Action (Photo by Jules Doyle)

Casting the show was relatively easy once Jo Jo landed on the lead roles (a process which at one point involved paper cutouts arranged in different combinations). The Shanghai Pearl was quickly cast as Agent Dana Scully, and Jake Groshong as Agent Fox Mulder. Though there were specific act submissions, The Syndicate kept a few performers on board in a “blank slate” capacity until the story dictated what types of acts were needed. Rehearsals took the form of all-cast brainstorming sessions and a series of drop-in workshops for feedback. All of which adds up to a uniquely collaborative new narrative.

The Shanghai Pearl (Photo by Jules Doyle)

When asked how society looks back on The X-Files and what holds up from the 90s, Jo Jo unsurprisingly has given this a lot of thought. “Strong female characters,” she says is what the show’s lasting legacy is. “Scully, Buffy…Wonder Woman. Nobody now has that role.”

“Rewatching it has been really interesting,” she continues. “Its greatest strength and greatest weakness were these overarching stories…because they got so convoluted that you had no idea what was happening. You were watching for the moments of humor or the moments of connection between two characters that literally had no sexuality…their relationship was so angst-ridden, that that became the fun. You were waiting and watching for that one little touch…a chaste kiss…”

The real Mulder & Scully

It’s chemistry, Mulder. (Photo by Jules Doyle)

“There’s been some great articles I’ve read looking back on the idea of Agent Scully and why was it so important to have a character like her that wasn’t defined by her sexuality…[but] wouldn’t it be nice if we actually got to see her, maybe…as a full human lady, with all the different parts of female sexuality? I mean she had a fucking kid- but we never got to know how or why?? That’s the ultimate betrayal right…you watch the show for so long, and wait…they had a baby? Even the actors joke about it now,” she laughs.

“That’s what has been fun about taking this into a burlesque realm,” Jo Jo says. “Now we get to explore some of the things the show didn’t share with us. But also do it in a way that is respectful to the show. We want to fulfill some expected fan fantasies while also holding some things back because that’s The X-Files. It’s about what’s seen and what isn’t seen. It’s about revealing some truths and then not revealing. It’s perfect for burlesque, if you think about it. You don’t reveal everything, you must hold something back. Things aren’t explained. Things are mysterious. Things are magical. And to me, that is burlesque”.

*****

Visit Jo Jo Stiletto Events for more information, and purchase advance tickets HERE.

Jo Jo Stiletto Events in Association with the Theatre Off Jackson present:
The Burl-X-Files: The Truth Is Down There
Burlesque Inspired by the X-Files

August 23, 24, 29, 30, 31st
DOORS 7pm. SHOW promptly at 8pm

Starring
The Shanghai Pearl as Agent Dana Scully
Jake Groshong as Agent Fox Mulder

Featuring:
Rebecca M. Davis
Bolt Action
Queenie O’Hart
Sailor St. Claire
Scarlett O’Hairdye
Seraphina Fiero
Tootsie Spangles
Trooper
Jesus la Pinga
Lady Drew Blood
Eva Fairwood

Associate Producers/The Syndicate:
Rebecca M. Davis
Scarlett O’Hairdye
Bolt Action
Sailor St. Claire
EmpeRoar Fabulous (not performing)
Mercury Troy (not performing)

Get tickets now.

Lily Verlaine and Jasper McCann (POC Photo)

Many grand ideas have been born over a glass of wine. In the case of Burlesco DiVino: Wine in Rome, it was the nationwide Month of Riesling celebration that led to a brand new work from producers Lily Verlaine and Jasper McCann. The Triple Door commissioned the production in 2012 to coincide with the summer’s wine emphasis; in the capable hands of Verlaine/McCann, a theatrical burlesque show became a wine-soaked soiree moving through time in two acts. The first is a sort of dramatic pantomime set in ancient Rome, where a bountiful harvest culminates in an orgiastic party at the Temple of Bacchus as fire dancers and priestesses conjure up the God of Wine. The second act hinges on a plucky American reporter waking from a night of Roman debauchery in the Swinging Sixties. Driven by ambition, she plans to sneak into an exclusive party with the crème de la crème of Rome’s fashion set to snap a photo of reclusive Italian socialite Donatella Bianchi. “We basically wrote two shows. It’s like a double feature,” Lily explained after a recent all-day rehearsal.

“When our cast is asked in interviews ‘What’s your favorite Verlaine/McCann production to be in?’ hands down, everyone says Burlesco DiVino,” Lily said, which the producers attest to the mash-up of dance styles the show calls for. Combined with a story bridging different time periods, the ensemble-heavy show effectively plays to the strengths of the multifaceted cast. Burlesco also highlights several notable principals in solos as well as many rising stars. There’s TriBellas’ highly skilled belly dance, Inga Ingénue’s deliciously intricate solo as model Benedetta Barbieri (flanked by Untamed Felines), and – one of Lily and Jasper’s favorites- Paris Original’s Pas de trios. Intimate, delicate, and gender-reversed- the dance culminates with Paris’ toes exquisitely pointed as he turns in the hands of his female partners.

Laurel Bordeaux, Paris Original, Tory Tiara.(POC Photo)

Inga Ingénue and a couple of Untamed Felines (POC Photo)

In light of Lily and Jasper’s other major works (the hugely successful Land of the Sweets and Through the Looking Glass), Burlesco is both divergent and a natural progression. The pair’s accomplished writing, directing, and choreography are increasingly in the foreground whereas in the past, “Lily Verlaine, burlesque dancer” and “Jasper McCann, emcee” were the most common associations. These days the pair is more interested in fostering the talent of newer stars and rising ones whose potential is just being tapped, both on stage and in essential functions behind the curtain.

The TriBellas: Ivy D’Vine, Juwana Hodge, HonoLulu Honey (POC Photo)

The morning after comes in Act 2 (POC Photo)

“We’re filled with such gratitude that we can create an environment where a variety of gifts and talent can shine,” said Jasper. Lily agrees that the caliber of people they attract is a testament to how hard they’ve worked in development. In dance, grants may allow a show to be developed over five years; Lily and Jasper have grown their shows organically, often in public, turning out large scale productions in anywhere from six weeks to six months. “I am shocked every time I get a resume,” Lily said. “It’s a huge honor. I need to make more shows, so I know where to put these people!” she laughed. “And having these audiences that are so generous and patient as I find my way as a choreographer, and find the right talent to express these things…it’s a tremendous honor.”

Trojan Original, The Luminous Pariah, and Paris Original (POC Photo)

Burlesco, like all of the exquisite work we’ve come to expect from Lily and Jasper, is the intersection of theatrical burlesque and contemporary ballet underlined with clever eroticism. Two original songs are featured, written and arranged by Jasper and James Chapple. “Ricordare La Presente”, delivered mostly in Italian, embodies the show’s themes of living the present moment to the fullest, since the past is gone and the future may never come. A noble theme and certainly worth toasting.

Isn’t this the cutest wine label imaginable?

To that end, there’s a special wine release in the Triple Door’s Musicquarium Lounge on opening night. After seeing Burlesco DiVino last year in Walla Walla, The Mortal Vintner contacted Lily and asked if she’d like to be featured on a wine label. Her answer of course was an instant “YES”, and Lily Verlaine Viognier was born. The wine, made from highly aromatic white grapes, will be available in glass pours as well as in bottles for purchase after the show. Sampling a glass after rehearsal, Lily asked Jasper to describe it. “It has a lot of structure for a Viognier. Peach, tangerine, dill…excellent notes of white stone fruit. It’s very sharp, not too cloying…” he mused. Which sounds almost as luxurious and nuanced as a Lily Verlaine & Jasper McCann Presents production.

Burlesco DiVino: Wine In Rome (August 21-24, The Triple Door Seattle)
Read more about the show at www.burlescodivino.com, and get tickets over HERE.

Burlesco DiVino tickets on sale now

Need any further convincing to go see the final three performances of Jo Jo Stiletto’s hilariously spooky (and extremely sexy) Burl-X-Files?

We’ll give you THREE really, really good ones:

The unexplained abduction of Lady Drew Blood. (Photo by Jules Doyle)

The Cigarette Smoking Man, played by Bolt Action. (Photo by Jules Doyle)

Exploring otherworldly kink with Assistant Director Walter Skinner, played by Trooper. (Photo by Meneldor Photography)

We cannot emphasize this enough- go see this show. The Shanghai Pearl and Jake Groshong make the most delightful Mulder & Scully, all angst-ridden chemistry and all.

Read our recent interview with producer Jo Jo Stiletto HERE; visit Jo Jo Stiletto Events for more information on The Burl-X-Files. Limited advance tickets available HERE.

Jo Jo Stiletto Events in Association with the Theatre Off Jackson present:
The Burl-X-Files: The Truth Is Down There
Burlesque Inspired by the X-Files

CLOSING THIS WEEKEND: August 29, 30, 31st
DOORS 7pm. SHOW promptly at 8pm

Starring
The Shanghai Pearl as Agent Dana Scully
Jake Groshong as Agent Fox Mulder

Featuring:
Rebecca M. Davis
Bolt Action
Queenie O’Hart
Sailor St. Claire
Scarlett O’Hairdye
Seraphina Fiero
Tootsie Spangles
Trooper
Jesus la Pinga
Lady Drew Blood
Eva Fairwood

Sinner Saint Burlesque performed for the last time at Noc Noc on August 22. (POC Photo)

On August 22, after seven years of bawdy and beautiful weekly performances, Sinner Saint Burlesque took the stage at Noc Noc for the last time before the official closure of their long-running home base. For years, Noc Noc was the best place in town to grab a plate of tater tots, bring all your friends, and settle in for a raucous night of wild and wonderful burlesque. Noc Noc had a certain gritty charm that made the weekly shows feel intimate yet glamorous- if you were new to burlesque “this goes on every week?” would be your first thought; if you weren’t, Noc Noc was a place to watch a group of women and their extended burlesque family come and go, honing their skills, experimenting, and perfecting their art in a no holds barred weekly live performance. Not an easy feat, but they did it- uncensored and for seven years, launching many solo performers along the way.

Polly Wood took a few moments this week to talk about the closure, and the photos found here were taken by POC on Sinner Saint’s last night at Noc Noc.

Burlesque Seattle Press: What is the story of Noc Noc’s (relatively) sudden closure, in a nutshell?

Polly Wood: On July 11, The Noc Noc on 2nd Ave and the historic Columbia building in which it resides was sold and its occupants were given notice to close their doors by August 31 for redevelopment. We decided to close the show a week and a half earlier than the final close date, so that we could have as many Sinner Saint Burlesque members in attendance as possible.

BSP: What is Sinner Saint planning to do next?

Polly Wood: While our weekly show will be on hiatus, we will be continue to pursue touring options and look at producing larger showcases. Sinner Saint is also still available for private bookings, both as a troupe and as soloists.

BSP: How do the ladies feel about this turn of events for them, historically?

Polly Wood: Sinner Saint has been so grateful to have a supportive venue for the past 7 years. Scotty, Jesus, and everyone at the Noc Noc have helped to create an environment where the performers, staff, and patrons feel welcome. Having a consistent weekly venue has helped us create a strong fan base. We have so many awesome memories (and incriminating photos) of the years of fun and art we created at the Noc Noc, and we will miss it. At the same time, we are excited to see what new adventures we will embark on as our business model shifts!

BSP: What do you think the closure means contextually…in terms of good stages and burlesque-friendly venues seeming to be tougher to keep open these days?

Polly Wood: It’s symptomatic of arts in general, not just in Seattle, but nationwide. While artists are producing amazing material in many mediums and disciplines, the gentrification of neighborhoods that have been havens for artists is a problem everywhere.

BSP: What will the impact be of the venue closure for the ladies-both personally as consistently working performers, and for the scene at large?

Polly Wood: We will continue to work as soloists, and to produce as a troupe, but obviously, as the Burlesque scene grows, and the availability of venues shrink, we will have to all be creative and enterprising as we work on producing material that is relevant and challenging to the community!

*****

To keep up with Sinner Saint Burlesque or to reach them for bookings, click HERE.

Jesse Belle-Jones and Evilyn Sin Claire (POC Photo)

Diva le Déviant (POC Photo)

Evilyn Sin Claire (POC Photo)

Jesse Belle-Jones (POC Photo)

Doña Dei Cuori (POC Photo)

Lady TaTas (POC Photo)

Jesse Belle-Jones (POC Photo)

La Chica Boom will appear in Burlesque Royale, September 14 (Photo by Hanna Quevedo)

~ Written by Jessica Price

The Shanghai Pearl’s upcoming Burlesque Royale is in many ways the show she was born to create. Though she’s been producing since she was just an eager young lass brandishing her bona fides from the Academy of Burlesque (some may recall shows she had a hand in at the Jewelbox and Wallingford’s Seamonster), it wasn’t until the successful Burlesque for Barack fundraiser in 2012 that Shanghai began producing on a grand scale. Burlesque Royale will take place at Seattle’s elegant Triple Door, the perfect setting for Shanghai to realize another little fantasy: bringing San Francisco’s Grant Avenue Follies to Seattle for the first time.

Pat Chin from the 50s (Photo credit pending, used by producer permission)

From approximately 1937 to 1964, San Francisco’s Chinatown was home to a thriving and glamorous nightclub scene. Chinese singers, dancers, and burlesque performers regularly starred in lavish floor shows at clubs like Forbidden City, The Chinese Skyroom, Kubla Khan, and Club Shanghai. The “exotic” nature of the dancers was commonly capitalized on and bizarre publicity taglines were often attached to the Asian dancers, comparing them to familiar Caucasian entertainers. Billed as “the Chinese Ginger Rogers”, “the Chinese Frank Sinatra”, or “the Chinese Sally Rand”, these men and women were stars of their own accord, entertaining GIs in wartime as well as Hollywood royalty from Ronald Reagan, Jane Wyman, and Boris Karloff to Bing Crosby and Duke Ellington. Their histories were not as celebrated as the legendary Caucasian burlesque dancers we may recall first today, but the golden age of Chinese nightclubs was a microcosm of show business with a huge draw. These clubs and their many entertainers were the cornerstone of a huge part of San Francisco’s Asian-American history. Some of the chorus girls, dancers, and burlesquers from the nightclub scene at that time remained in contact over the years. Retired dancer Cynthia Yee came across a Palm Springs Follies show (some may recall that Joan Arline was once a member of PSF) and realized that she and her friends were more than capable of doing the same…or better. They formed a nonprofit dance troupe called the Grant Avenue Follies and began staging shows at community centers, veterans’ groups, and hospitals. The ladies quickly realized it wasn’t too late to roll up those fishnets once again and relive the fun of their dancing days.

The cover of Trina Robbins’ excellent history.

Meanwhile back in Seattle…

After “politely stalking” the ladies of the Grant Avenue Follies for years (“I think they thought I was just this funny, weird stripper” the Shanghai Pearl recalls), she struck up a collective friendship with them, asking numerous questions about their nightclub days. The ladies invited Shanghai to perform with them at a Chinese Historical Society Gala in San Francisco. “These are the women I’ve been looking for my entire life,” Shanghai recalls of bonding with the living Legends and simultaneously unearthing a whole new family of adventurous, sexy role models from the Asian community. Before this, “all of my lady role models were white…and Margaret Cho,” Shanghai recalls.

Six members of the Grant Avenue Follies (Cynthia Yee, Pat Chin, Ivy Tam, Lillian Poon, Emily Chin, and Avis See-Tho) will perform in a pair of group numbers at Burlesque Royale. Shanghai says the ladies are thrilled to come to Seattle and have made a working vacation of the trip (book-ending the Triple Door performances with two shows at local senior homes as well as a visit to a retired showgirl friend in Vancouver).

Shanghai with the ladies of Grant Avenue Follies in Las Vegas at The 2011 Burlesque Hall of Fame Weekend (Shanghai’s personal photo)

Shanghai with Legend Barbara Yung (Shanghai’s personal photo)

Shanghai mindfully curated Burlesque Royale, inspired in part by the undisguised sexuality and directness of the recent all male KINGS show in Seattle as well as by her own desire to feature high impact performers and a diverse cast. Putting on a truly great show spotlighting powerful women capable of commanding a room was foremost in her mind. And though she loves and has often employed comedic tactics of “surprise sex” in her acts, Shanghai has recently been preoccupied with why those layers of pretense are necessary. “It can be alienating- even in burlesque- for people to be faced with sex when it comes to women,” she muses. “There’s a layer of safety that comes with joking and irony- and I love that layer, but why is it that we need that layer?”

Fittingly, Burlesque Royale features a heavy-hitting lineup. Sydni Deveraux (“1st Runner Up, Reigning Queen of Burlesque”, Seattle), Donna Denise (The Most Powerful Chest in Burlesque, Dallas), and performance artist/activist/ecdysiast La Chica Boom (founder and producer of Kaleidoscope Cabaret, San Francisco) will perform, as well as Burgundy Brixx (winner of “Best Solo” at the Boston Burlesque Expo, Vancouver BC). Burgundy’s classic style and execution are something Shanghai admires. “Watching her is like watching an old reel come to life,” she says. Performer and lady MC Foxy Tann (The Boss of Burlesque, Minneapolis) will host because – among other charms – “she’s just kind of a badass,” says Shanghai. “I want this show to be a good representation of what this craft has been, and what it can be, and all the different evolutions of it,” Shanghai explains. “In burlesque we have so many opportunities.”

*****

Martha Enson and Cathy Sunderland of Moisture Festival and Aerialistas fame also guest star. Burlesque Royale takes place at 7:30 and 10:30 on Saturday, September 14. Get tickets HERE.

AND—- check out La Chica Boom’s amazing mission statements over HERE, get more info on Grant Avenue Follies HERE, and please…you won’t regret it…check out Trina Robbins’ vital paperback on the golden age of Chinese nightclubs, Forbidden City.

La Chica Boom (Photo Amanda Brooks)

Sydni Deveraux (POC Photo)

Burgundy Brixx (Photo credit pending, used by producer permission)

Donna Denise (Photo credit pending, used by producer permission)

Foxy Tann (Liquid Mojo Photography)

Design by Caitlin Finn Daost in collaboration with The Shanghai Pearl

Ah, Burlesque Royale. Minds were blown; hearts set afire.

A diverse array of fiercely unique women shared their larger-than-life talents at Seattle’s Triple Door on September 14. If you missed it, what follows is a quick photo recap through the eyes of three photographers kind enough to share their images. The show’s producer, Seattle’s beloved Shanghai Pearl, was probably the most blown away- and the most humbled – by her cast culled from across the country. When we spoke via email post-show, Shanghai had a few things to say about Burlesque Royale‘s lasting impression in her mind:

“Unapologetic Womanliness. That, if anything was probably the underlying theme of the show. Women being women, being fierce, sexy, stunning, glamorous, adorable, STRONG, bawdy, cute, brilliant, challenging, sweet, women being all these things, standing on stage in all their radical womanliness, taking up space with zero apology.”

We couldn’t have said it better ourselves. And we absolutely cannot wait to see what the Shanghai Pearl dreams up next when she sets her mind to producing. BRING. IT.

Vancouver BC’s Burgundy Brixx (Photo by POC)

Burgundy Brixx (Photo by Scott Foster)

Jovie DeVoe’s fabulous balloon act (Photo by Scott Foster)

Jovie DeVoe’s megawatt smile (Photo by Scott Foster)

La Chica Boom in “Black Magic Woman” (Photo by Brian Buck)

La Chica Boom (Photo by Brian Buck)

Dallas’ Donna Denise (Photo by POC)

Donna Denise (Photo by Scott Foster)

Foxy Tann (POC Photo)

Aerialists Martha Enson and Cathy Sutherland (Photo by POC)

The magnificent smile (and headpiece!) of Ivy Tam (Photo by POC)

Ivy Tam (Photo by POC)

Burlesque Royale’s Producer, The Shanghai Pearl, in her Cherry Blossom act (POC Photo)

Seattle’s very own Sydni Deveraux (Photo by POC)

Sydni Deveraux (POC Photo)

La Chica Boom “Virgin de Guadalupe” (Photo by Brian Buck)

The ladies of Grant Avenue Follies (Photo by POC)

The cast of Burlesque Royale (Photo by Scott Foster)

Lily Verlaine and Kitten LaRue (Photo by Christopher Nelson)

One week before opening night, Artistic Director and Choreographer Lily Verlaine chatted with me via email regarding the magnifcent trifecta of dance and burlesque works that is La Danse! Le Burlesque! L’Edition Francaise! I recall several years back when I first saw the show – a hugely entertaining collaborative showcase also featuring Kitten LaRue (Artistic Director and Choreographer of The Atomic Bombshells) and Olivier Wevers (Artistic Director and Choreographer, Whim W’Him) – I was absolutely crushed that at least at the time, the show would be performed for one night only. It seemed tragic for a production so exquisite and so incredibly fun to be seen just once; I was ready to see it again the very next night if only it were possible. Luckily many others, including the show’s producers, felt the same.

What follows are some burning questions I had for Lily this year, as La Danse! Le Burlesque! L’Edition Francaise! prepares to revisit the Triple Door October 3-5:

Jessica Price: Hi Lily! L’Edition Francaise is my absolute favorite of your productions, and I’m so glad you and fellow choreographers Kitten LaRue and Olivier Wevers are remounting it. I’m trying to recall when the show was first performed- didn’t it debut in 2010, as a part of your Nightcap series at the Triple Door? Has it been performed every year since?

Lily Verlaine: Jessica, thank you so much for taking the time to cover this show and it pleases me to no end to hear how much you like it. The debut of L’Edition Francaise was Bastille Day 2010. We did a single night’s performances on that particular occasion and a short run in May 2011. This is the third showing and it includes some fabulous new pairings, namely the unbelievable blonde sexiness of Tory Tiara and Jon Betchtel in Olivier Wevers‘ “Coquette”.

Jessica: I think one of the most exciting characteristics of L’Edition Francaise is that it consists of three equally strong parts in one heady collaborative mix. It’s incredibly balanced: frivolity and tension, boldness and flirtatiousness, sexuality and the ethereal. The three of you have such unique strengths and diverse styles- how did the show come about?

Lily: L’Edition Francaise developed because I have been completely obsessed with Serge Gainsbourg’s Histoire de Melody Nelson ever since the album was introduced to me by my friend Jean-Michael Omnes in 2003. I have listened to that album at least one hundred times and I love it more and more with each listen. The 27-minute concept album was too short to stand alone and I didn’t want to interrupt its greatness by dividing it with banter, so I needed more material to flesh out the evening. Enter two brilliant collaborators and voila! Because the show contained such diverse content, it was first produced under the blanket of Nightcap, my late-night show. After this first run, it was evident that the show had a complete life of its own and thus the title was re-imagined as La Danse! Le Burlesque! L’Edition Francaise! which more clearly states what the show is all about and reflects how exciting and fun it is.

Jessica: How did you first meet Olivier Wevers? (His portion of the show has such a rollicking buildup and lascivious conclusion- and the choreography is amazing, of course. I can certainly see why you became friends…)

Lily: I have been a fan of Olivier ever since I saw him play Romeo in PNB’s production of The Tragedy of Romeo and Juliet. Later, when he was showing his early choreographic works at On The Boards and Spectrum Dance Theater, I was charmed by the candidness of his choreography and the playfulness he brought out in the dancers. I contacted him through an email address on his website and was very pleased when he responded enthusiastically to my invitation that he contribute a piece for this show. When I met him in person, my fascination with him only grew because of his incredible graciousness. One of the most hilarious moments was when he suggested that I needed to teach him all about burlesque. I went pale and sputtered, “what could I possibly teach you??” I remain baffled and flattered that he would say such a thing.

Jessica: You’ve known Kitten LaRue for many years now- she asked you to join the Atomic Bombshells when you were first beginning to think of burlesque as something you could explore through the lens of your dance training. How do you feel your visions as producers complement each other?

Lily: The way that she came to be involved in this show was simply that we were having coffee one day and I mentioned that I was looking for collaborators in the interest of exploring my fascination with Serge Gainsbourg. It just so happened that she had a wealth of ideas in regard to the ye-ye girls of the same era. The moody lasciviousness of Serge’s personality was perfectly offset by the buoyant naiveté of the girls in Kitten’s technicolor vision.

Jessica: What attracted you to creating a choreographic burlesque production around Serge Gainsbourg’s album Histoire de Melody Nelson?

Lily: The music is absolutely gorgeous. It is all at once rock and roll, poetry, classical string arrangements, virtuosic feats of choral prowess, loss, shock and passion. Essentially, everything that moves me to create. Also, the classical components of the album gave me a feeling of freedom to use my ballet background in a non-ironic capacity.

Jessica: On a side note- the maniacal laughter of Melody on that record is quite unforgettable, don’t you think?

Lily: Oh I certainly do! You know, the legend is that Jane Birkin’s laughter was recorded while her brother tickled her over a hidden recorder underneath her bed (placed there by Serge, of course).

***
La Danse! Le Burlesque! L’Edition Francaise!
@ The Triple Door, Downtown Seattle
October 3-5
Get tickets HERE.

We here at Burlesque Seattle Press are taking a week or two off to work on some glamorous freelancing…but don’t you fret. You know we always leave a little something special for you to feast your eyes on. See you soon, pretty things.

Carole Lombard and a friend, 1930s

There are too many noteworthy shows to mention over the next few weeks. Here’s our top picks for the most stellar events to keep you warm before the holiday blitz begins:

10/26 Witching Hour starring the Mistress of Hallow’s Eve: Joey Arias @ Teatro ZinZanni

Legendary NYC mega-icon Joey Arias is coming…you better look sharp. Here’s the scoop:

“Come ghouls and goblins to see the spook-tacularly prolific and bona fide NYC icon, Joey Arias, for one night only under the velvet-topped tent! In addition to the candy for the eyes, the evening also features naughty nibbles for the hauntingly hungry, costume contest for the devil inside and prizes for the scariest boys and ghouls!”

About Joey Arias: “A fixture of New York City’s vibrant downtown performance scene for 30-plus years, Joey Arias is a true NYC icon. Arias lived and worked with legendary musician Klaus Nomi until Nomi’s death in 1983. However, he has long since stepped out of Nomi’s shadow to gain fame in his own right as a performance artist, cabaret singer and drag artist. Arias was tapped by Cirque du Soleil to originate the role of the emcee in their Las Vegas spectacular Zumanity, for which he co-wrote three songs. On film, he has appeared in Mondo New York, Big Top Pee Wee, Elvira, Mistress of the Dark, Wigstock – The Movie, Flawless and To Wong Foo, Thanks for Everything! Julie Newmar. Television credits include the infamous “Saturday Night Live” episode with David Bowie and Klaus Nomi, Ann Magnuson’s “Vandemonium”, Elvira’s “MTV Halloween Special,” and more.”

Get tix HERE.

October 26

*****
10/27 The Rocky Horror Pastie Show @ Columbia City Theater

Portland’s Miss Kennedy brings The Rocky Horror Pastie Show (now in its third year) to The Columbia City Theater in Seattle. A “live adaptation of Rocky Horror with a little less dialogue and a LOT more T&A”- not to mention a fantastic cast featuring some folks we don’t get to see often enough in Seattle.

Starring:
Grant Frey and Lovie Lane as Brad and Janet
Zora Phoenix as Frank-N-Furter
Isaiah Esquire as Rocky
Sofia Flash as Magenta
Miss Kennedy as Columbia
Noah Mickens as Riff Raff
Burk Biggler as Dr. Scott

with knockout burlesque performances by:
Infamous Nina Nightshade
Lascivious Lenore
Sofia Flash
Rian Ryn
Dee Dee Pepper
and
special guest
Whisper De Corvo

Be sure to break out your fishnets, pearls, and platforms so you can walk away with some fancy prizes from the Rocky Horror costume contest. Get tix HERE.

October 27

*****

11/1 POC Photo @ Fremont Coffee Company

At Fremont’s November Art Walk, POC will be displaying photos from his Burlesque photo exhibit that debuted at Tigerlily Salon way back in August. Stop by Fremont Coffee Company from 6-8pm and say hello! Beer, wine and coffee drinks will be available.

*****

11/2 Olympia’s Own TUSH! Burlesque present HORN O’ PLENTY: A Burlesque Feast for the Eyes @ the Historic Capitol Theater, Olympia

Another brilliantly named show from our favorite Oly sisters. Here’s the skinny from the ladies themselves:

“TUSH! Burlesque is back with another incredible original show! Join us as we present a cornucopia of autumnal delights in song, dance and striptease.

The ladies of TUSH! Burlesque are celebrating the season together, and we’ve invited special guests Foxy Tann, Jeez Louise and Red Bone to join us at our holiday table. But it looks like our dinner is nearly undone! Between the joys of family obligations, travel, mandatory overtime, and other holiday delights, anything could happen. Will everyone make it to the feast on time, in one piece, and with their potluck offering in hand? There’s only one way to find out – get your tickets and see the show!”

Get tix HERE.

Olympia’s Own TUSH! Burlesque: Horn O’ Plenty, November 2

*****

11/2 La Petite Mort’s Dark Cabaret @ Columbia City Theater

Do you like your burlesque a little more sinister? La Petite Mort’s Dark Cabarets are always a pleasure. The November cabaret has a lineup to die for (no pun intended)…

Hosted by Diva le Déviant
Performances by:
La Petite Mort
Nickolai Pirak
The Shanghai Pearl
Jesse Belle Jones
Miss J9 Fierce
Vox Fabuli Puppets
Gale Force

Music by:
Peculiar Pretzelmen
l’Orchestre d’Incroyable

Get tix HERE.

November 2

*****

11/7-11/10 BURLYCON!!! @ the Doubletree Hotel Seatac

This is a big one. Now in its sixth action-packed year, BurlyCon is back November 7-10. This year’s Guest of Honor is none other than New Orleans burlesque legend Wild Cherry. Get tix and info HERE.

Gorgeous. Wild Cherry will appear at BurlyCon 2013. (Photo courtesy of eccentricneworleans.com)

*****

11/13-11/16 The Atomic Bombshells…Lost in Space! @ The Triple Door

It really is the most ridiculously glorious and over-the-top of all the Bombshells’ shows…and that’s saying something. The details:

“Back by popular demand for its third run: Seattle’s burlesque all-stars blast off with their glittering sci-fi spectacle and fan favorite. These award winning showgirls and boys are back from the east coast to celebrate their 10-year anniversary this November. Watch them pull out all the stops as they return to the gorgeous Triple Door theater with the third run of their most over-the-top show to date! With an otherworldly retro-future soundtrack featuring Joe Meek, Esquivel, and Raymond Scott, The Atomic Bombshells take you on an intergalactic voyage of sight and sound, filled with alluring aliens, slinky space adventurers, bodacious Barbarellas, and planetary princesses! Did we mention that The Atomic Bombshells were recently described as “polished, clever, and glamorous” by none other than Dita Von Teese?

Hosted by Captain Jasper McCann, with First Mate Lou Henry Hoover- also featuring Seattle’s “Premier Fancy Lady” BenDeLaCreme and gender-blending boylesque sensation Waxie Moon! This season also features a sizzling chorus of shimmering meteor men, comprised of Seattle’s dance and boylesque all stars: Paris and Trojan Original, Markeith Wiley, Faggedy Randy, and Nikolai Lesnikov.”

Get tix HERE.

*Sigh* The Atomic Bombshells, November 13-16.

*****

11/15-11/16 The NAKED Show @ Theatre Off Jackson

The name really does say it all. Heidi Von Haught and Randi Rascal (aka Clown Stripper Productions) will unveil “The NAKED Show: a variety show that gives the performers the freedom to do their thing all the way, au naturel, day-you-were-born, in-the-raw, full-monty, full-frontal naked! More than just a burlesque show that shows a little more, this show will explore the meaning of nudity and the context in which we experience it. Naked isn’t just state of mind, it’s a statement of culture, and of how we define vulnerability, obscenity, and art.”

Get tix HERE.

November 15-16

The visually striking images of Meneldor Photography have been popping up all over the place recently.  Rick Priest has been hard at work, quietly building up a formidable portfolio that moves between subjects quite comfortably- burlesquers, dancers, actors and beyond.  The images are vivid, lush…each one capturing a moment of stillness so exquisite that it feels as though your eyes are drinking in a painting, rather than a photograph.

“As far as my photographic vision and focus, I tend towards the darker and moodier for sure.  I strive to make each photo that I work on its own individual piece of art,”  Rick explained. Though he has only been taking photos in a serious way since February 2013, with every shoot he is pushing himself to be better and continue to learn.  He credits fellow photographer (and Burlesque Seattle Press co-conspirator) Paul O’Connell as an inspiration, as well as many familiar faces from the Seattle burlesque community.

“As far as performers that move me the ones that come to mind are Seraphina Fiero (of course FIERCE and SEXY. She isn’t afraid to ‘go there’ with her art), Iva Handfull (the first performer that I saw perform on stage and I can never get enough of her sneer and the mohawk. Her energy is amazing, and she’s one of the most driven and nicest people that I have met), Bolt Action (his versatility and stage presence is amazing), Bella Bijoux (LOVE HER. She brings the slow and sexy like no other), Tootsie Spangles (brings the drama to the stage and her acts always tell a story. Her facial expressions make her a pleasure to shoot), and the gentlemen of Mod Carousel (they always amaze me on and off stage. Their attention to their craft is inspiring). Also, I love the Screws and Paul. They have all been very supportive of my photography.”

Currently, Rick is concentrating on event and studio work, and you may well bump into him at shows around town.  You’ll definitely know Meneldor’s photos when you see them.

For this posting, Rick selected a handful of his favorite shots (all are credited below):

Credits, from top of page:

Violet Tendencies, Founder of Stripped Screw Burlesque

Seraphina Fiero, performance shot of her “Demoness” act

Sailor St. Claire “Vintage Goddess” (MakeUp Artist Seraphina Fiero)

Arlene Kosters, in her first ever photo shoot (MakeUp Artist Seraphina Fiero)

Mike Hope, Actor

Seraphina Fiero and Violet Tendencies from the Stripped Screw ‘Vintage Slip’ photo shoot

Seraphina Fiero “Death of Summer”

Mushroom, shot at the Everett Arboretum

Seraphina Fiero

******

For bookings and information, please contact meneldorphotography@gmail.com

https://www.facebook.com/MeneldorPhotography

http://www.flickr.com/photos/91804640@N02/

http://500px.com/priestrick

~ Written by Jessica Price

The supertroupe that first put the sparkle in many a future burlesquer’s eye celebrates a milestone anniversary this year-  The Atomic Bombshells have been strutting their stuff for ten dazzling years now.  Kitten LaRue started the Bombshells in 2003 with Fanny N’ Flames, fresh from New Orleans where they’d been members of the legendary Shim Sham Revue (from 2001 to 2003).  New Orleans legends Kitty West and Wild Cherry were brought in to workshop with the Shim Shamettes, sharing the secrets of their bump and grinds, finely nuanced hand gestures, and other tricks of the trade. It was quite an education. “In some ways, this set the stage and really allowed me to dream big for The Bombshells,” Kitten explained when we sat down to talk about her long and winding performance career back in 2011. A now legendary Cinderella story ensued-  Kitten and Fanny managed to talk their way into a performance at The Showbox opening for Dita Von Teese before they had even finalized a cast or show. But they did have a crystal clear vision of a poised and cheeky group of girls that could charm the proverbial pants off a wide audience – The Atomic Bombshells.

Kitten and Fanny quickly connected with the best of the best: Miss Indigo Blue, Honey D. Luxe, Ivy St. Spectre, and the formidable talents of a newcomer soon to make a name for herself as a producer and choreographer as well, Lily Verlaine. Kitten also scooped up the incredible talents of host Jasper McCann, Ruby Mimosa, Inga Ingenue, and today the troupe includes Lou Henry Hoover (the troupe’s first boyshell and Kitten’s real life wife), and glamour girl BenDeLaCreme.  A jaw-dropping all-star cast from end to end.

With each member a vital part of their success, The Atomic Bombshells set the gold standard for over the top glamour and burlesque done the old fashioned way, with plenty of unconventional tricks up their collective sleeves. In the process, the Bombshells have helped to bring burlesque to a wider audience and solidify its place on professional stages such as the Triple Door.

This week, The Atomic Bombshells celebrate ten years with a remounting of their most grandiose spectacle of all, the sci-fi adventure Lost In Space (November 13-16 at the Triple Door).  Here’s a look back at some of the show’s most memorable moments:

Want to see a little more?  Get your tickets NOW.  And don’t forget to wish them a happy, happy anniversary.

November 13th at 7:30pm (17+)
November 14th, 15th, and 16th at 7pm (17+) and 10pm (21+)
The Triple Door
216 Union St., Downtown Seattle

Tickets: $22-$35, priority seating given to advance purchase
www.tripledoor.net or call 206-838-4333

Bettie Page by Bunny Yeager, 1954

Bettie Page Reveals All, a new documentary from director Mark Mori and writer/editor Douglas Miller, will premiere at SIFF Cinema Uptown December 5 at 7pm. The special engagement will feature a performance from none other than Seattle’s beloved Miss Kitty Baby (we couldn’t think of a more perfect performer to represent Seattle burlesque for a night honoring Bettie) and a Skype Q&A with director Mark Mori. In case you miss the premiere’s fanfare don’t fret: Bettie Page Reveals All returns for a one week run at the SIFF Film Center starting January 3.

As anyone interested in pin-up culture and burlesque well knows, there’s never, ever been anyone like Bettie Page. Many fans (including myself) think of her fondly as the mysteriously compelling gateway drug that sparked their initial interest in pin-ups and burlesque. Bettie was the shining, charismatic patron saint of it all. The exuberance, total confidence, and sense of fun radiating from every image of Bettie from her peak modeling years of 1950-1957 made her unforgettable. No matter the pose- playing in the sand or toying with some of the most ridiculous props imaginable- Bettie was at ease. Her beautiful body was only outshone by the light in her eyes and that megawatt, playful smile. Bettie looked alive; she looked fun.

Bettie by Irving Klaw

Bettie’s path to becoming a cultural icon was as unusual as it is legendary. If you were around in the 90s when she resurfaced (with the help of comic book artist Dave Stevens and Hugh Hefner), you may recall the joy it was to unearth more about this mysterious pin-up from the 1950s and what had happened to her in the years since. Ebay was ripe with photos, some of them signed. Camera club members who had taken famous shots of Bettie (such as Art Amsie and pin-up photographer Bunny Yeager) were actually reachable by phone or mail. Bettie herself remained elusive, although suddenly there were biographies, including the excellent Bettie Page: The Life of a Pin-Up Legend and The Real Bettie Page, which upset some by revealing that Bettie had physically attacked her landlord and was subsequently arrested during a bout of mental illness.

Bettie by Art Amsie

Bettie by Irving Klaw

In Bettie Page Reveals All, rare audio interviews Bettie gave before her death are made public through Bettie’s trusted friend, director Mark Mori. Bettie narrates her own story through lengthy excerpts combined with photos, archival 16mm footage, and interviews with those that knew her. Mori once again brings Bettie’s charisma and magnetism back into the public eye, beginning with brief interviews with well-known fans (Hugh Hefner, artist Olivia De Berardinis, Dita Von Teese) and including a few moments of footage from Bettie’s service at Westwood Village Memorial Park Cemetery in 2008. The film attempts to explain what set Bettie apart against a backdrop of wistful footage and vintage photos; also touching on the ridiculous censorship battles of the period and Bettie’s outrage at being arrested for “indecency” after a secluded outdoor shoot. Bettie explains her early life and modeling discovery in 1950 with a touch of humor and a giggle here and there, as if in hindsight she found much of what happened to her quite amusing. The film touches on all the major events of her career, from the camera club and girlie mag days to her famous collaborations with Irving and Paula Klaw and Bunny Yeager before her retirement from modeling in 1957.

Though Bettie wanted the world to remember her as she was in her photos, it’s hard to imagine the reclusive star having too many complaints with how her words and life are treated in the documentary. Mori allows those that cared about her to explain what happened to Bettie in her later years, and Bettie herself speaks about her failed marriages, nervous breakdown, and the ten years she spent in a psychiatric hospital suffering from paranoid schizophrenia.

What follows is a reprint from Music Box Film’s promotional materials on the documentary. The Q&A is well worth sharing and contains a lot of great insight and information from the perspective of friend, fan, and documentary filmmaker Mark Mori.

Bettie Page Reveals All opens for a one week run at the SIFF Film Center starting January 3. For more information, visit SIFF HERE and the film’s page HERE.

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So what gave you the idea to do a documentary on Bettie Page?

Mark Mori: I was living and working in Los Angeles at the time and my entertainment attorney was also representing Bettie in the entertainment field. I had lunch with him and he showed me the book “Bettie Page: Life of a Pin-Up Legend” which had just been published. I told him that I would love to make a documentary of this. I had made all these kind of serious political documentaries and I wanted to do something more fun. I really knew nothing about Bettie, except her image was familiar. Once I looked at the book, I knew it would make a good documentary without really know anything about her story. I arranged to meet her for lunch and we became friends. She would regale me with these stories and it was all just great fun to her. So she agreed to let me do this film of her life and there was almost nobody in the last twenty years of her life that actually talked to her face to face.

Why?

Because she was a recluse. She liked the fact that she had fans but she wanted to be remembered for how she was in her photographs. She could not understand why people were still interested in her. She wanted to live her life quietly and she didn’t want to have to deal with people. She and I would go out to lunch in public and nobody would recognize her.

Could she have passed on her knowledge to other performers in some way or did she not want to do that?

She didn’t view herself as possessing any special knowledge. She could tell you in detail all these stories of things that happened and what she did from her point of view. She had a good memory, but the concept of teaching what she did to anyone else probably wouldn’t have occurred to her. If you had asked her, she wouldn’t have known what to do.

So Bettie Page was a feminist icon, ahead of her time. She didn’t really care what anybody thought did she?

No and she didn’t realize that she “doing anything”. In other words, she was just being herself. She was a force of nature with no self-awareness. It wasn’t like she was setting out to make some statement or to be some kind of a role model. She was only working on a job and having fun doing it and that’s all that was to her.

Was she surprised when she was arrested and by the congressional hearings and senate committees?

Not only was she surprised, but also she was completely outraged that they would charge her with indecent exposure. She said: “I was not indecent” and refused to plead guilty to that charge. If she had have just plead guilty, everybody would have been able to go home; but there were photographers covering the trial who had been taking pictures of nude women but telling their wives that they were out fishing. They wanted to get out of there, but she took a stand and they ended up dropping that charge. One of the photographers covering the trial said she had more courage than twenty photographers.

Did she realize that she was way ahead of her time? I mean she must have known what the law was. She must have been aware of the very conservative values of the people around her.

I don’t think she paid any attention to it or knew much about it. I don’t think until she was arrested and charged with indecent exposure that she really thought that much about problems with nudity in an open field, on a farm: that was so natural to her. She couldn’t understand why people thought that was a problem. Once she had realized that people did consider it a problem she started to be a little more careful I think.

So she was a free spirit then?

She was such a free spirit: a force of nature that didn’t stop to think about what she was doing.

I’d like to have that kind of attitude.

It’s also what comes through in the photographs. She wasn’t trying to create something or put on something. She was, I think, the number one actress in terms of still photography.

Why is that? Because she’s a natural?

Well, yes, she is a natural but she also worked really hard at it from a very young age. And, she used to study her photographs to find out how to be better. She did her own hair and make-up and even, unawares, directed a lot of the photography.

She had a good idea of her own art?

It was all done without calculation. It was just who she was, which was the amazing thing about her and the unique spirit you get in her photographs.

How long did you know her for? I know she died in 2008.

I first met her in 1996. I’ve done a number of interviews with her over the years and the last time I saw her was in the hospital a week before she died.

You knew nothing about burlesque before you met Bettie. How do you feel about burlesque now after having known her?

I don’t know how big the burlesque movement was back on 1996. I only discovered this kind of neo-burlesque thing since I began to know Bettie and make this movie. In fact, I didn’t understand for a good while that Bettie’s fans were these young women who found their sexual identity from Bettie.

I think that’s part of burlesque as a whole, you know.

Exactly. Anyhow, I’m a big fan of burlesque now. I have had some burlesque girls who have volunteered on the film. I have had one burlesque troupe show the trailer during their tour.

Bettie has launched a thousand looks, hasn’t she?

Yes. Tempest Storm was at the premiere and there’s a clip of Tempest Storm and Bettie together in my film. There were a lot of burlesque dancers at the premiere of my movie. Some of the burlesque women that I worked with and got to know very well have gone on to very lucrative careers as Bettie Page models for Bettie Page lingerie.

Is Bettie Page lingerie a huge business?

Yes. Bettie Page clothing did ten million dollars in business last year. Then there’s the Bettie Page licensing that made six million dollars last year. She was one of the top incoming-earning dead celebrities tied with George Harrison and Andy Warhol. She was named by Men’s Health as one of the hottest women of all time. Time Magazine recently named her as one of the 100 people most influential in fashion. There have been French fashion designers who have said that they modeled their designs on Bettie Page.

Do you think that’s because of the rise of burlesque in the last ten years? Burlesque is becoming mainstream and quite fashionable so people want to dress like that, perhaps.

Well, yes I think dressing up and having fun: that’s part of burlesque. The whole retro theme is all an attempt to have fun and style. To me, what you’ve got going on in larger society is so stultifying. Burlesque is an outlet for people to have fun and be creative. It’s worthwhile, fun self-expression.

A portrait of Bettie.

Land of the Sweets returns to the Triple Door
December 12-28, 2013

Last week the curtain lifted on the eighth year of Land of the Sweets: The Burlesque Nutcracker. Costumes were unpacked, last year’s snowflakes were dusted from each set, and the dancers officially set up camp for an incredible 31 shows in their annual holiday home away from home, the illustrious Triple Door theater. When Land of The Sweets takes up residence in this chilly corner of downtown Seattle it feels like the holidays have finally arrived.

When I last interviewed producers Jasper McCann and Lily Verlaine, it was summertime; Burlesco DiVino rehearsals were taking place. Lily shared a story about taking a class at Pacific Northwest Ballet School for the first time after an injury – how an instructor she greatly admired approached her after barre, confessing that he had been hoping she would show up in class, as he was a huge fan of Land of the Sweets and had been attending for several years. He had noticed specifically the changes incorporated in the finale, and Lily recalled being humbled by his appreciation and attention to detail. To have a person from the world of classical dance talk about Land of the Sweets in terms of contemporary ballet was an honor – one that Lily recalled fondly when speaking about how the production has evolved since its inception.

Land of the Sweets, like all of the shows we’ve come to expect from Lily and Jasper, is the intersection of theatrical burlesque and contemporary ballet underlined with a clever eroticism (and just a pinch of sugarplum fairy dust on top). This week, we’ve tracked down the instructor that made Lily blush: Mr. Bruce Wells, who was kind enough to share his reflections on the holidays, dance, and his friendship with Lily…

Burlesque Seattle Press: Can you tell me how you first made Lily’s acquaintance?

Mr. Bruce Wells: I had seen Lily in three different productions and had heard she studied at The Pacific Northwest Ballet School where I am on the faculty. One day last summer she walked into my studio to take class. I thought to myself … OMG that’s Miss Verlaine…!!! I went right up and told her I was a big fan. We chatted a bit about her choreography and performances. I already had a reservation to see the new show, Burlesco DiVino: Wine in Rome.

BSP: Have you seen many of her productions in the past, and what were some of your initial thoughts about them? What do you think of the work she is doing with her production partner, Jasper McCann?

Mr. Wells: I have seen all three productions at The Triple Door…Land of the Sweets: The Burlesque Nutcracker (Twice!) Alice in Wonderland, & Burleso DiVino. I was impressed that Lily adds new choreography each season to keep the performances fresh. Lily has a very modern aesthetic about the stage. While there’s always the wink & nod to the traditions of burlesque… she also stages her dancers in very contemporary vignettes. In Jasper McCann she has the perfect partner. Where she is sweet and flirtatious… he is the charming Master of Ceremonies, full of double entendre with a stylish crooner’s singing voice. They clearly enjoy each other and that relationship allows the audience members in on the fun.

BSP: What do you think of the intermingling of all these amazing trained dancers with burlesque performers- do you think they can be positive influences on each other in some ways?

Mr. Wells: In each of the performances I’ve seen I thought Lily blended with ease… the dancers with the burlesque performers. There is always a well thought out reason why the burlesque performer appears in the precise moment that they do. It always highlights the emotional impact of the scene the way a song does on a Broadway musical. Dancers have such a strong work ethic … I’m sure the discipline it takes on both sides is shared and supported (especially on those two show evenings…)

BSP: I hear you’re a huge fan of The Nutcracker. Was it one of the first ballets that you saw? What do you recall your impressions were when you first saw it?

Mr. Wells: Being in the ballet world for well over 50 years The Nutcracker has been in my life a very long time. My first production was George Balanchine’s production for The New York City Ballet. I remember loving the idea that it was a Christmas card come to life…I would go on to dance in this production in a variety of roles for ten years. I followed this by creating my own version for The Boston Ballet. Of course I’ve seen many other versions … I like the fact that Lily begins with the Snow Scene then heads straight into the Land of Sweets. These are the scenes where both Lily and her talented company can truly shine.

BSP: In your experience, have you seen many interesting “mixed media” casts in the past as we seem to benefit from today?

Mr. Wells: I enjoy all forms of theater that throw out all the “rules”, whether it be mixed race or gender … it always brings a fresh new look to any production. I applaud Lily for her honest and open policy of casting with a wide respect for all who cross her bugle-beaded, boa-feathered path.

BSP: You’ve been a dancer and teacher for many years and have had quite an amazing career. What are you currently spending most of your time with? Does Pacific Northwest Ballet School take up all of your time, or are you working on other projects as well?

Mr. Wells: Working as a faculty member for The Pacific Northwest Ballet School is a full time job. However I have also created a “Special Family Matinee Series” for PNB. Three one hour long children’s ballet
that I also narrate. I’ve done Snow White, Hansel & Gretel, & Pinocchio so far. Many of these have also been performed by other ballet companies… Atlanta Ballet, Oregon Ballet Theater, & North Carolina Ballet to name a few. These are obviously at the extreme opposite spectrum from what Lily Verlaine creates…. My work is designed to introduce a young audience to a life-long love of ballet. When they become more mature they may come to understand the fun and sophistication of burlesque.

BSP: Who are some of your favorite choreographers and dancers today, and some of your most beloved icons from the past?

Mr. Wells: I’m a big fan of Christopher Wheeldon and look forward to seeing his work as often as possible. I also like Matthew Bourne’s work…. his all male Swan Lake and theatrical productions are terrific. I grew up in the New York City Ballet while George Balanchine was alive and worked closely with Jerome Robbins. I was a lucky young dancer to work with this level of genius.

BSP: How are you spending the holidays this year?

Mr. Wells: I have a number of terrific holiday traditions here in Seattle. I spend as much time with good friends as I can. Christmas Eve is always spent with my first dancing partner from childhood, with Christmas Day spent with my 95 year old Father. All that with Lily Verlaine’s Land of Sweets makes this truly the most wonderful time of the year. Merry Christmas!

**For tickets and more information, visit www.landofthesweets.com.**

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Bruce Wells was born in Tacoma and trained on scholarship at the School of American Ballet. He joined New York City Ballet in 1967 and was promoted to soloist in 1969. He was resident choreographer and principal dancer with both Connecticut Ballet and Boston Ballet, and served as interim and associate artistic director for the Boston Ballet from 1984-89. He went to Pittsburgh Ballet Theatre as resident choreographer in 1989 and joined the PNBS faculty in 1997.

Mr. Bruce Wells, dancer and faculty
member at The Pacific Northwest Ballet School

Epic. Lily Verlaine and just some of the cast of House of Thee Unholy (POC Photo)

Waxie Moon and Paris Original. (POC Photo)

There are few shows that so brilliantly fuse the worlds of rock and roll, dance, and burlesque the way that House of Thee Unholy does. In a miraculous surprise not unlike a virgin birth itself, The Swedish Housewife Presents has announced this week that House of Thee Unholy #5 will return from its achingly long two and a half year hiatus for ten shows in March. The rocklesque extravaganza is truly a thing of wonder: an incredibly accomplished cast of thirteen dancers, three singers, and five musicians explode in a 70s dream of hallucinatory sex, drugs, and rock and roll. Don’t miss it: this is your early warning and the very best seats at the gorgeous Triple Door are on sale RIGHT NOW.

Check out the teaser:

House of Thee UnHoly #4 from paulanow on Vimeo.

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Screw NYE- this is where the party’s at

Our second offering to be filed under “DO NOT MISS” (not to mention a potential holiday surprise for that rabid burlesque fan in your life) is coming up a lot faster. Tickets are selling fast and furious to The Burlesque Marathon, an absolutely fab double feature at the Columbia City Theater on Sunday, December 29. The idea? A special single or double ticket deal at an extremely reasonable price featuring a jaw-dropping cast of Seattle’s latest and greatest movers and shakers, designed for the performers to film their acts before a live audience. There’s no theme, no story to follow- just a whole lot of burlesquers bringing their best. True to the show’s name, we dare you to do it “marathon” style, and stay for both the early and late shows. And oh yeah…get LOUD.

Here’s the scoop:

5-7 pm:
The Burlesque Marathon: The Early Bird Gets the Worm

8-10 pm:
The Burlesque Marathon: Good Things Come to Those Who Wait

With host Vanadium Silver, pantie wranglers Carlotta Shakin and Magnolia Monroe!

Tix available HERE.

5 – 7PM SHOW
Iva Handfull
Scandal from Bohemia & Hoi Polloi
Solange Corbeau
Seraphina Fiero
Stella D’Letto
Karmen Sutra
Jesus La Pinga
Lady Drew Blood
The Luminous Pariah
The Shanghai Pearl
Ava Raqs
Lexi Luthor
Inara Echo
Olatsa Assassin
Pepper La’Rouge
Violet Tendencies
Sydni Deveraux

8 – 10PM SHOW
Iva Handfull
Boom Boom L’Roux
Jovie DeVoe
The Shanghai Pearl
Scarlett O’Hairdye
Sara Dipity – Super Suit
Suzanna Davis
Violet Tendencies
Sydni Deveraux
Flirty Sanchez
Seraphina Fiero
Whisper De Corvo
Violet DeVille
EmpeRoar Fabulous
Bella Bijoux
Tootsie Spangles & Hattie Hellcat
Waxie Moon

ALSO epic!