The Brilliant Bones....
RUSSALL BEATTIE
Tonight the Bone we are recognizing is one of the leading men behind Sydney’s contemporary Burlesque Scene. What’s that? A man? Well of course men are involved in Burlesque production as well! Have you Seen Star wars Burlesque? Jaded Vanities? Maybe you’ve seen a gig or indulged in a drink at the Vanguard Venue? This is Russall Beattie’s haven and creation, and let me tell you; from this man, we have a lot to learn about Burlesque and his brilliant and unique contribution to the scene.
Russall Beattie’s interest in Burlesque started when he was in his mid teens, and this passion for vintage sideshow and circus soon lead Russall towards vaudeville, silent film and Burlesque.
When the resurgence hit the UK and the USA, he was currently working in film in Australia. He then moved to London and after a long period of persistence and pleading London’s premier Burlesque crew, the ‘Whoppee Club’ to let him be a part, they let him in.
“My first tour was the Edinburgh festival 2004. The year burlesque came to the fringe. I worked with The Whoopee Club, The Whu Whu Sisters, La Clique and Dirty Fan Male to name a few. From then onwards I worked and became friends with the Pontani Sisters, Immodesty Blaze, Kaspia and Australia’s current reigning ‘Queen of Burlesque’ Imogen Jelly. Which was a typo on the poster of course. Imogen Kelly”.
Upon Russall’s return to Australia in 2005, he, Kaspia and Mr Mai Tai started a regular club night at Sydney’s 34b venue ‘Sugar-Time’.
“34b was a collective of performers and promoters, we did a show once a month, the other weeks were put on by Pip Branson, Gurlesque, Belladonnas Delux and from time to time we had the main players of the out of state scenes such as Mans Ruin, Hi Ball, Voodoo Trash Dolls, Town Bikes and Lola the Vamp.”
Sugar-time specialized in themed vintage styled burlesque including a wide range of variety within the performers.
“My theory back then which I still believe today, is that less is more with how many strip tease acts you put in a line up.”
Under Sugar-Time Rusall put on the first “beginners” style event branded ‘Scarlett Debut’ which he believes many of the current ladies of burlesque first performed at.
“We were also to my knowledge, the first to do a national tour with the ‘Absinth Club’ and bring out overseas performers for a tour 'Good Drugs, Bad Women' and the first to do concept show which was ‘Robot Strippers 3000”.
After sugar-time Russall mainly put on burlesque shows for corporate clients and he merged into the music industry, where he managed the band ‘Snowdroppers’.
“They were the house band that formed for ‘Good Drugs, Bad Women’. I moved in this direction as I was a little exhausted and jaded from the politics from the burlesque “scene”. But then after two years away from producing Burlesque shows for the public, I returned to creating shows at the vanguard. I ran multiple nights and really enjoyed getting a show tight and embracing the intimacy of what that environment offered, and after putting on shows at the vanguard for 2 years, it was put on the market. Just producing the shows was not enough for me. So I ended up buying the business.”
Russall then decided he wanted to run the burlesque side of things like a dance company.
“I would have a group of in house performers that trust me and vice versa. We grow together and learn each other’s strengths and weaknesses. The group was thus named ‘The Jaded Vanities’. Since their formation we have come up with 4 shows, which have had multiple runs. The most successful being ‘Star Wars Burlesque’.”
At the time of Russall writing this, Star Wars Burlesque has been performed 35 times and has been seen by 7000 people. By the end of 2012, 10, 000 people will have seen it. Which Russall believes would make it one of the most successful stage burlesque shows in Australia.
“The show has changed a lot since its inception; we add something with every new run of the production. So you never see the same show twice.”
What Russall Loves about Burlesque is its alikeness to the circus.
“I love the energy it can create. No matter how polished it can get. It still has a dangerous factor to it. You don’t know what’s going to happen next. If you feel 100% safe, then it’s not doing it’s job. I love the fact that I have as many women in my audience as men. I love the fact that I know a bunch of people are going to have sex after seeing one of my shows.”
Now it is important to acknowledge that Burlesque is not one specific style; it comes in many shapes and forms. Although in Sydney it is referred to as a ‘community’, within it exists a number of smaller groups and individuals, each who collaborate or work individually, and extend their styles into other genres and forms of performance.
“I stepped away from the greater burlesque scene in Sydney years ago. I still support it, but my style of burlesque is different. I focus on the sexy side. I’m not political; I don’t deal in the shock styling. I like putting on sexy, darker shows. A lot of people will argue that what I do doesn’t even constitute as Burlesque these days. But I urge people to understand that burlesque is not a genre, it’s a format. Like the music industry, there are many styles and levels surrounding it. Just because you have seen a burlesque show, does not mean you have seen “Burlesque” as a whole.”
Russall believes that burlesque is a important factor in contributing to not only the entertainment and arts side of our city, but that it also provides a platform where people of different backgrounds and performance experience can meet.
“Where a hobbyist and performer’s can share a stage with the reigning queen. Where all these different expertise can help grow everyone involved. Like a big creative melting pot.”
Over the past 9 years that Russall has been involved in the Burlesque scene, he has seen performers come and go, and Burlesque has been a majors stepping stone in the development of established stars today.
“Some visit for a while and move on to something else. For example I worked with Paloma Faith at the Whoopee Club. She was a burlesque performer before becoming a pop star and you can see how that time within the burly community has helped shaped her career.”
“You need modern burlesque stages for performers to grow, it’s important to a city’s creative identity. Just like galleries, comedy clubs, open mic nights, etc.”
But most importantly, when it comes to the vitality of Burlesque in Sydney, Russall leaves us with this last tantalizing thought...
“It’s easy to make fun of burlesque these days as being passé because it was such a hot media ticket a few years ago. But just stop and think for a second, how much more boring would it be if burlesque did not exist in your city?”
RACHEL ST JAMES
As a child Rachel St James was drawn to burlesque, old school Hollywood glamour, and all things performance.
“I spent my weekends obsessing over old movies with beautiful starlets from a bygone era. On a family trip to Paris I was exposed to street performers and harlequins of the famous Latin Quarter in Montmartre.”
These are the images, which have shaped the style, and influences of Rachel’s work today.
As a classically trained actor and dancer Rachel gained exposure through her creation of Avant-garde style performances, which catered to the arts scene.
“That is where I was offered a lucrative career as a glamour model for men’s magazines. I jumped at the chance thinking that's how vintage starlets made a name for them selves. Most girls in the glamour industry were working as strippers and the opportunity kept popping up, however, this was something that didn't feel right for me. At a public appearance, I worked with another model that was in the same situation. She was getting offers to tour and perform, but she didn't want to do anything tacky. As a result, we decided to create our own duo act “Burlesque style” with feathered fans and beautiful costumes. From there, we found a reputable agent and went on to do 8 consecutive tours in Australia, Asia and The South Pacific."
By 2003/04 Rachel’s glamour modeling career was at it's peak, with numerous appearances on magazine covers, including an internationally recognized title, along with co-hosting a national Television show and on going performances at major clubs around Australia.
“And then, I was approached by a magazine publisher to create a Burlesque Show for a media tour in a giant Martini Glass. This was the start of something big.”
Two years later in 2006 Rachel learnt that Burlesque in Australia had an underground scene brewing, predominately featuring a group called “Sugar Time” who help productions at the night club ‘34b’.
“I was then introduced to one of the creators, Russall Beattie, and we decided to meet up personally to discuss the possibility of performing at their next show. At time I was well known as Rachel James, and told Russall I wanted to create a name more fitting to Burlesque. An hour after our meeting he called me with an idea. The rest is History and thanks to Russall Beattie, Rachel St James was born.”
In 2006 Rachel also made a major contribution to the Sydney Burlesque scene when she started her own club/production show called “Burlesque Follies” which was held at an exclusive cocktail bar named ‘Ruby Rabbit’s De Nom’.
“At the time it was unique to anything else on the market and all of a sudden we had huge following. The show continued until 2010 when the venue was sold. It was a lot of hard work but an amazing experience I will never forget.”
Rachel has a deep passion for Burlesque, as she believes it provides one creative freedom and is a celebration of all things beautiful, feminine, artful, womanly and sensual.
“This is all that inspires me in a wonderful genre of performance. Burlesque offers a vehicle for people to express their views in an artistic format. It also empowers females, which is why it has a broad acceptance in the community.”
Rachel also believes that Burlesque in Australia and Sydney, holds its own on the world platform, and that many great performers hail from this country. She also believes that as an artist, it is important to continue evolving, and she has shared with us that when it comes to new productions, there are always plans and projects for the future…However…”a lady never reveals all her secrets!”
CANDY ROYALLE
Today the Brilliant Bone we are recognising is Candy Royalle, and she has been writing since she can remember and performing for the last 10 years.
“It's only been my primary career in the last few. Specifically, I have working with Burlesque performers/at Burlesque events for about 2 to three years.”
Her philosophy about performance is that intelligence and entertainment need not be mutually exclusive (as mainstream performance would have people believe)
“So I believe I contribute to the performing arts community by putting together great entertaining shows that are thought provoking. In my most recent production "Stories by Starlight" I collaborate with the incredibly subversive burlesque beauty Betty Grumble (Emma-Maye Gibson) and Ember Flame (Felicity Kitson) who both bring something unique to the show. I believe that putting them in front of an audience, which might not normally choose to go to a burlesque event, allows both artists a certain level of exposure but more than this it gives those in the audience a reason to see burlesque as a valid and contributing art form.”
Neo Burlesque and the exploration of contemporary ideas of gender appeals for Candy greatly,
"I love burlesque that is subversive and challenges the hetero-normative status quo of what women should be or should look like. Though traditional burlesque can be beautiful, it's the dark, twisted, conscious, contentious, grotesque burlesque that I love."
When it comes to Burlesque, Candy feels that the public needs to be aware of the *difference* in emerging burlesque performers and established.
"I think that, as in all art forms, there are varying degrees of experience and punters should be aware of this when they go to see burlesque so that they know when they're paying top dollar they're getting the best of the best and when they are paying much less, they'll be getting the emerging performers. I think this is an important differentiating point because I often hear people bitching about the cost of tickets, performers being asked to perform for free and a whole bunch of other stuff. People need to understand this is art, performers need to eat, and you get what you pay for."
When it comes to the significance of Burlesque to our community, Candy believes it is a vital platform for women to express themselves in any way they see fit - be it the physical, political or emotional.
“It's dialogue on society. It's an important art form that should be supported.”
Betty Grumble was birthed out of the dysfunctional world of baby beauty pageantry in early 2011, as an exploration in hijacking burlesque as a form to discuss feminism. As a performer, with various female alter egos such as the twisted and confused young Betty, to the sultry goddess Iris mayhem Emma uses her skills as a highly trained physical theatre maker to traverse and infiltrate varying performance spaces in order to establish her voice as a powerful woman.
"I initially started performing in the burlesque scene in performance collective What Makes Men Blush before creating my solo work Betty Grumble and fellow alter-ego’s Iris Mayhem and Vinnie Bradley."
Betty Grumble became a vehicle for Emma to simultaneously challenge and celebrate the politics of a female body onstage.
“I find Burlesque fascinating and frustrating because it sets up a regime for women to play out gender roles whilst also having the potential to transcend the commodification of female sexuality and blow up our sex status. My work asks first ‘what is a body?’ so, the theatrical form of Burlesque and its subsequent ‘revival’ and thriving communities has given me the perfect platform to explore unraveling and destroying the normative whilst also offering new ways of being.”
In the Sydney Burlesque Community, Emma Maye, with her powerful and confronting exploration of performance and gender roles can be recognized as a number of admirable things, from a Burlesque fugitive to a monster, a clown, a feminist and queer body. What she loves about Burlesque is that it enables the body to become more than what is expected of it.
“The rattling of cages and the busting out of containers. (Not to mention GLITTER GLITTER GLITTER AND CAMP GLORY)”
When it comes to Burlesque and performing arts not only in Sydney, but all around us, Emma believes that the public needs be aware that all around us, there are important and powerful voices and bodies that are progressive and want you to come along for the ride. It is important to the community as Burlesque is not only entertainment, but a social commentary which frequently sends out a politicized and important message.
“Burlesque can/should be a political act. Every time a woman body is onstage it is politicized! Australia is harboring some very explosive artists working within burlesque that are using their bodies as beacons for celebrating difference. There is nothing more human than flesh. We all have it. This exposing and revealing act is exciting and is the stuff of revolution. Burlesque can speak and it can say ‘There is no one way of being.’
https://www.facebook.com/BettyGrumble
www.bettygrumble.com
EMMA MAYE AKA BETTY GRUMBLE
DEFY
Defy is an enigmatic Cirlesque perfromer with dark and mysterious characters to captivate the imagination and tantalise your senses. With a background in musical theatre, Defy’s shows are more than just a 10 min spot, but a story brought to life.
Before Burlesque, Defy started out in Musical Theatre with roles such as Seymour in Little Shop of Horrors, Side By Side By Sondheim, Jesus Christ Superstar, Aladdin (a panto) but was struck down with a rather nasty case of Glandular Fever that left him in a coma for a week. Defy awakened on September 11, 2001 and was convinced the world was ending as images of the terrorist attacks filled every media. However, for Defy, this was his first step into the creation of a new world, a world of performance. His story was too captivating to interfere with, to intriguing to abbreviate! So here it is, straight from the man himself…
“As anyone with Glandular Fever knows, you are left with a little gift from the fever fairy. Mine was my singing voice – that bitch had removed it. I had to find other entertainment avenues and so turned to plays...bletch! That was boring. Left it. Moved on... mime?, Nah....circus? Well, it was fun to be sure and I'd gotten a lot out of it, but everyone's seen all these tricks before”
“Audiences were watching politely but we weren’t really “wowing” them in confined spaces where the really cool tricks could go down a treat! Then my top got stuck in the tissu (an aerial apparatus) during one performance and I was hanging upside down thinking about how I could undo the mess. So as not to draw attention to it, I caressed my torso, my fingers feeling their way to the ends of the offending top which had become stuck in the knot...the audience started whistling and hooting. Of course at this stage I wasn't totally aware of what was going on and was more concerned about getting unstuck whilst still keeping it looking like a show. I found the ends of my top and slowly tugged at it. The audience got a little more vocal and when I ripped it off....well, ballistic is an understatement! What just happened??? That's not what I had in mind for a showpiece? I wasn't a stripper. The music was not upbeat at all, it was slow and rhythmical, seductive and...oh waitaminute!”
“Of course the owner of the venue wasn't as enthralled as the audience. “It's not that kind of place” he said. “We have a reputation to uphold and we are NOT a strip club!” To which I defiantly responded, “Well, THEY liked it! {moron}” Thus was born the Defy we know today.”
So Defy performed his own style of Burlesque for a while, predominantly private gigs, as he did not realize there was a network of burlesque performers and was completely unaware of the different shows that were happening.
“That was, until, I was asked to do an aerial act at The Victoria Room when they were just starting their “performance carnival” on the same night as Venus Vamp and of course, who COULDN'T be drawn to her. So we chatted and exchanged numbers and later she put together “Anything Goes” My first organised Burlesque event...”
Defy believes that his role in the burlesque community is predominantly as a performer, however he does have a production in mind, something that will be kept close to the chest until he finds a venue. Defy also creates all of his own costumes and props* in order to made the show more of a performance piece rather than a get up, dance, take your clothes of routine.
“For themed nights (Timania, Harry Potter, Halloween, etc) I tend to go nuts and put together some fairly elaborate outfits. The Defy page is used to promote any shows I am in. In my day job I get around to many gyms where I dump flyers and info for upcoming shows. BU WEI is a character I created and a piece that was born out of a discussion I had with another boylesque performer. He had been experiencing quite a bit of negative and homophobic heckling when his acts are in women's lingerie and his pieces are androgynous in nature. I chose to address this in a matter that pushed my own stereotype as a male burlesque performer and found that the audience sympathised with Bu Wei.”
“It doesn't have to be targeted at women and gay men either, in fact, I've had many a straight guy watching shows with their girlfriends who have appreciated my performance. I believe that giving the male audience member something they can relate to, allows them to become more and more open/relaxed with the orientation of the event.”
“I also like that I can involve my circus skills. Showing a masculine form in a typically female dominated art form such as aerial Tissu can be quite a powerful image. Again, double routines in Tissu and Adagio can be easily related to by the fella's in the audience.”
To Defy, Boylesque is the yang to the ladies yin. Dark to light. Soft and gentle to strong and sharp, and Defy is a living, breathing encapsulation of Boylesque. Both he and the art form stand for breaking boundaries and challenging pre-conceived social norms of masculinity.
“It's defiantly a celebration of the male form. Whether it be masculine or drag or and in nature. Defy likes to show the softer side of the male form while still exhibiting the physical strength of the man”
When it comes to what the public needs to know about boy/burlesque, Defy believes that the public could benefit from talented burlesque performers who can show that it's not necessarily about debauchery and loose morals.
“It can be a classical and beautiful exhibition of the human form as you are brought on a sensual journey of discovery. Often of one's self as you are invited into the private realms of another, where your mind will swim in the sensations that stir within your own depths.”
Defy also believes that no matter what the form is, all art should be given the opportunity to be showcased and embraced by the wider community at large.
“Give the performer a chance to shine. Give the viewer a chance to experience something new. Give the shy some excitement. Give the conservative something to talk about. Give the supporters something to support. Give the fringers acceptance. Give the misinformed an education. Give the reserved a voice...Give.”
*This is a common trend for many performers. Many members of the public assume that burlesque performers run under an agency, or have someone else to fund their costumes and props. Props and costumes can be purchased, but many performers feel more satisfaction and liberation runs through the creation of every aspect of the performance, it is a very self invested form of performance, which is why you may find many performers who refer to burlesque as ‘an expensive hobby!’
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Want to check out this incredibly strong Bone in action? Check out and follow his fan page
where you can view his previous works and all of his upcoming shows!
Fabulous photography by Dusk Devi https://www.facebook.com/DuskDeviVision
KELLY ANN DOLL
Kelly Ann Doll began performing in the burlesque scene around 2005 when she was picked up from a production team called ‘Sugartime’ by producer and owner of the Vanguard, Russall Beattie.
“I was just a "filler" act for the burlesque dancers and variety performers, performing short swing numbers on stage, I was completely new to this world, coming from a world of strict dance competition and discipline, dumped into a world of debauchery, lust and freedom!"
After a few shows, the popularity of her showcase dance numbers quickly became a 'sort after' feature in burlesque shows around Australia.
“From there I began the journey of eventually crossing over to going solo and finally gaining confidence to using my skills in swing and aerials in the world of strip tease …And I’ve never looked back.”
Kelly explains that she wouldn’t quite say she has a ‘role’ in the burlesque community, but she has always felt very protective of other performers rights and of the scene itself.
“I have seen it grown over so many years. I have been brought down a lot because of my decisions to push my style into a world of strip tease, and I thought that there had to be a world where the "non stereo typical" performer had the ability to showcase sexuality through the art of story telling without focusing on my body, but creating something deeper because I was afraid I wasn’t sexy enough”
Kelly believes that this initially stemmed from her experience in a world of competition where being unique actually made you lose to conformity, and ‘doing things by the book’ was the only way to win. When Kelly immersed herself in the Burlesque scene, she was overwhelmed by how welcoming this art form was to the individual and her unique style in particular.
“I thought how great it was to get such a positive response from the crowd every time I just went out there and danced from my heart. It fast became clear to me that my role in this scene is to always stay true to that, and guide others too. Promoting positive energy and also making people laugh is the best legacy you can leave really.”
When it comes to what the public needs to learn about Burlesque in Sydney, Kelly believes it is important to support the venues and promoters who are putting on GOOD quality burlesque shows.
“So many people are being sucked in to mass promotion on poorly produced or casted events, and people just never return to burlesque, one bad experience can be put some one off forever, and its happening all over Australia.”
Kelly, who also run’s swing events, workshops and her own industry night titled ‘Red Light Confidential’, believes that it is imperative that all performers start taking better care of their audiences as well each other, and mature and more established performers need to make sure the next generation is getting the support, encouragement and guidance for their future in performance.
“Burlesque is a timeless art form, but like anything can be shelved if it doesn't live up to expectations, and its up to us to keep it strong and high standard for the paying public so we can all do this for a very long time.”
Kelly believes that in order to understand the vitality of Burlesque in our community, one must look back to the roots of Burlesque itself, and realise that this style of performing art is not only provocative in most cases, but its also a very powerful and captivating method of encouraging people to listen to what you have to say. She believes that yes, it is important to tell a story, but more importantly, to tell yours.
“Always find the truth in burlesque, doesn't matter what theme or style of show, the audience is there to listen to you, and being naked is only a small part of what burlesque is meant to be about. We as artists need to recognise that there is a lot of power in what we do, not only as woman, but also as people. In 4 minutes you can change someone’s life forever, and from that comes an audience and a society that will take us more seriously, and we get closer and closer to taking over the world, one nipple pastie at a time."
Love her already? Well the most effective way to further learn and recognize Burlesque & artists such as Kelly Ann is to come visit a show!
You can catch and further get to know Kelly Ann Doll at the following upcoming events:
Red Light Confidential 9
October 11th
Colombian Hotel, Cnr Oxford Street and Crown St, Surry Hills
Black Cherry - 6th Birthday
October 27th
Factory Theatre, Marrickville
Big Old Bus Band Tour
October 19th - Albury
October 20th - Leeton
October 21st - Tumut
http://www.thebigolbusband.com/fr_home.cfm
***Photography by Rob Kelly***
HOLLY J'ADOLL
Now, onto the lovechild of these two Burly Bombshells, lets put our hands together and give it up for ‘The Peel’
The Peel was created a couple of years ago with the intentions to give new performers a space to get up there give it a go, an opportunity for new performer to be whoever and whatever they wanted. Holly states that
“we felt a chilled-out night where newbies could cut their teeth, and where established performers could break in acts, was desperately needed. The Peel provides this without any pressure, expectation or sceney bullshit.”
Through the creation of The Peel, Lauren shows an empathetic understanding of the difficulty that performing for the first time can pose.
“If you're a new performer not only is it really hard to get a gig, but if you do get a gig the promoters / organizers will often want to dictate what you do to fit in with their night / concept / vision - which is totally understandable - BUT Holly & I wanted to give performers a chance to do whatever they wanted, we have absolutely no say in what anyone does, hell we don't even know what they're going to do half the time!”
Experienced performers are also more than welcome to try something new on The Peel’s stage, but, this will always remain an evening where the talents are not thanked in the form of pay in cash but in the form of love, photos, a beautiful stage, a little liquor and the freedom to do what they like, ‘However for a new performer we think this is worth more than a few dirty dollars,” Says Lauren – Amen to that!
This evening deserves a bout of recognition for the opportunity it provides for new performers, as their first step into the scene is the most vital, this is their first imprint on their path to becoming a brilliant bone of the burlesque community themselves!
“We're so happy that the community has responded with such love for the little ol' Peel!” Says Holly, “We have always said the night is not about us or our egos, it's about the performers on the stage - and always will be.”
Catch the next edition of ‘The Peel’ on the 10th of October at Slide Bar on Oxford Street!
https://www.facebook.com/events/416823621715826/
LAUREN LAROUGE
Lauren LaRouge’s first step into the Burlesque world of Sydney took place in 2007 when she scored a job as the door girl for the launch of Dr Sketchy's in Sydney, she then had her first performance debut at the Scarlet Debut later that year.
I had always wanted to be a singer as well as a Vegas Showgirl in the 1950's which I guess was not going to happen since I was born in the 80's, so I thought i'd missed my chance to follow that dream until I heard about Burlesque. I still wanted to sing, but I wanted to be an all round performer and really put on a show as well as look the part, so to me Burlesque was a little like Cabaret but with even more stylistic costumes, glamour and decadence and of course a bit of sex/humour so I was intrigued”
She then discovered that Dr Sketchy's was launching in Sydney and used Burlesque girls to model, “So I begged to be the door girl, dressed in what I thought was Burlesque at the time (looking back it was probably a little tragic) got some photos taken at the launch and was inspired to immerse myself in the scene”
When it comes to contributing to the Burlesque scene, Lauren is a true believer in ‘keeping it real’.
“Although I can act like a right DIVA on the stage when hosting, I use my life and all the things that go wrong in it (often involving men) as banter for my MC duties, because I'm always trying to turn "bad experiences" into "good comedy" and also just showing myself for the messy, drunken love fool I am - I may wear rhinestones, lovely costumes and set my hair nicely - however my life is always falling apart at the seams and I like to share this with the audience.”
Through Lauren’s performance, she cultivates and embraces what she has and transforms it into an incredibly humorous and unique presentation, whilst also inspiring other performers to stay true to themselves, to embrace their individuality without the pressure of ‘having to be the ‘perfect personality.’
“I have no desire to project myself as this perfect untouchable siren on stage - others can and do, & that is wonderful, but I would rather let the cracks show through as even when I'm doing a Burlesque performance it's rare that I’m trying to present myself as straight up sexy as I feel more comfortable/at home when there is comedy involved as I can't take myself too seriously and I don't expect the audience to. Also there aren't enough female MCs about so I hope I inspire other girls to give it a go - but not too many so I can still get work, ok ladies? Ha.”
When it comes to Burlesque, Lauren loves the freedom of expression and performance that the art offers. To Lauren she believes there is no point in trying to constantly question and define a sole definition of burlesque, to her Burlesque is FREEDOM.
“Freedom of expression, freedom to portray yourself in whatever way you like, to make your own costume, to choose your own music, to choose the style of performance (Classic, neo, upbeat, slow), to choose the message / story you want to convey or not even convey one at all. I don't think there is almost any performance style, which gives the performer so much choice; freedom and power, & I love it. I also love the girls and some wonderful boys/men involved in the scene. Most of my closest friends these days are other Burlesque performers, there's a wonderful sense of belonging and being around other people who "get" you.”
What Lauren believes the public needs to know about Burlesque in Sydney, is that it is very alive and well, and that there are some amazing performers who she believes are just as good or better than many performers that she has seen internationally,
“I think Australian performers in general feel this need to push the envelope to get creative and really prove ourselves because we don't live in NYC or London or somewhere that's seen as a little more cosmopolitan perhaps. I am constantly blown away by experienced and up and coming performers in Sydney and I think we just need more stages and spaces and events to host all this wonderful talent.”
When it comes to questioning the importance of Burlesque to the Sydney performing arts scene, Lauren feels that Burlesque is important as it is often about making fun of certain things - mainly the establishment to be able to speak up speak out and have a voice in your own way. She believes that Burlesque allows freedom of expression,
“Plus most importantly to me it is a celebration of women (and men in boylesque) of all shapes, sizes, body types, hair colours, piercings, styles etc - because anyone and everyone can get up on that stage, present them self in whatever form they like and be celebrated and even sexy and beautiful if that's what they want to be.”
Lauren believes that when we live in an age that is dominated by advertising, by magazines, by internet adverts and campaigns telling women (and men too) that this is what sexy looks like, and if you don't look a certain way you are not beautiful, or you should get surgery because you are not good enough as you were born - she feels it is very important to have real people getting up on stage and being celebrated,
“Hell I'm getting emailed Groupon vouchers for minor plastic surgery and Botox - what the hell is that?? I think Burlesque is very important as it's taking a bit of the power back to the people and from this unrealistic and boring image of "beauty". Also it's FUN or it should be!”
THE PEEL
The other vital bone we have here is Holly J'aDoll! Holly has been performing for almost 5 years.
“I started out under the wing of Miss Kitka, who taught me for a year before I unleashed myself onto a stage. Kitka is very classic in her approach and I remember complaining to her because the music selection for my 'graduation' solo act had to be pre-1960. My act was about a jewel thief who returns home after a long night at 'work' to take a bubble bath - and all I wanted to do was bust out to Massive Attack! I Guess I was always a neo girl at heart, but I'm very grateful for having been taught burlesque the 'right way round'. Now, every year I'm a judge at Miss Kitka's 'Kitten of the Year Awards'. It's always nice to catch-up and going back to Kitka's always feels like burlesque homecoming for me.”
Holly believes that in contributing to the Sydney Burlesque scene, that she is just one member of Sydney's late night burlesque tribe, where she treads the boards week-in-week-out with her fellow performers - all of whom she holds a great deal of love, respect and adoration for.
Holly also feels it is important ot acknowledge that today, not only in Sydney, but all over the world, that Burlesque is alive and kicking, “But don't think it's just a trend or a fad - this shit has been going on under the cover of darkness for longer than you realise...” (Something we are yet to discover and gain more knowledge of as the Brilliant Bones of Burlesque in Sydney will be revealed on the daily)
When asked why Burlesque is important to not only the entertainment sector of our city, but how it benefits our culture and community, how it steps beyond performance, Holly feels that Burlesque can be so many things.
“It can be a mouthpiece for ideas and statements. It can be political. It can be a celebration. It can be uniting and dividing, shocking and pretty, or lighthearted and serious. But at the end of the day, it's entertainment. Burlesque performers are there to entertain and put on a great show for audiences who have paid good money for their tickets. The current overwhelming popularity of burlesque means there's lots of people coming to see shows, which is awesome, but not everyone introduced to burlesque is going to like it or think you're amazing for performing it. So it's our job to put our best foot forward - to produce and perform quality shows, and use those shows to not only educate audiences about burlesque, but tell them what it is about burlesque that makes us live and breathe bump n grinds.”
And what else does Holly love about Burlesque? “The boobs, the people and the free drinks.” Well, lets face it, who wouldn’t!
Where can you catch Holly Next?
Every Friday - Dome Burlesque @ Dome, Crown Hotel Surry Hills
https://www.facebook.com/domebar.crownhotel
10th October - The Peel @ Slide Lounge
https://www.facebook.com/thepeelsydney
IMOGEN KELLY
This feature today focuses not on the common details we know of Imogen’s performance success and talents, but on the vital information of the movements and developments Imogen was involved in, which provided and cultivated a breeding ground for practically every Sydney Burlesque performer today. I feel that this piece of information she has shared with us is incredibly valuable and will provide a great insight into our Burlesque history.
It all began in 1993 when Imogen Kelly was employed by the government to get health workers access to the strip clubs.
“These clubs were horribly out of control with violence and drugs. The government was under the illusion that strippers were all prostitutes and were spreading HIV. They needed a stripper who could work on a govt. level, I had a degree and first hand knowledge of the workings of Kings Cross at the time. So I got the job. I was 23. ”
The first thing Imogen needed her new employers to be aware of, was that strippers weren't prostitutes, they were performers.
“Once they understood that they realized they could rein in the clubs for violations under the Actor's Equity laws, but they would need the strippers to join the union before they could act. The strippers didn't join... but I did. So I worked together with politicians and people I suspect were members of the Royal Commission that was going on into the police corruption in Kings X at the time.”
“They went through each club listing the violation- everything from smoke machines to the lack of female toilets. I'm not sure whether the unionist I was working with either got threatened or took a bribe but they walked away leaving me holding everything and I came close to giving up. I felt like such a fool. Then there were a series of violent rapes and a few deaths in the clubs- a suspected murder of one of the girls- a friend of mine. So I started making a noise again, this time to people higher up the chain. All I wanted was for the violence to stop and for the clubs to treat us with respect. To have a clean dressing room, proper contracts and better pay. But the Govt. had different ideas, they wanted to shut the clubs down so I stopped working on the project and just went back to delivering condoms. However, the mob got suspicious. I was informed there was a contract out on me and was advised to leave town. So I did. I went to Amsterdam.”
It was after a month that Imogen got a call from a friend who told her the clubs had all been shut down for having violating their licenses as performance venues, and that certain mobsters had been put in jail on a variety of charges- mostly tax evasion.
“ Long story short- striptease artists were no longer legally classed as prostitutes meaning they had the same rights as other entertainers. This meant we could now legally work outside of the red light district. This also meant we could open our own strip clubs which I did in 2000 with Sex intents, Meredith Williams and Glita Supernova.”
This club was called was called ‘Gurlesque’ and was an all women's club, Australia's first burlesque venue.
“Making it a lesbian venue was the best way to keep the mafia away. The women only rule and also got to keep out the unwanted male perves. I wouldn't say it was legal, I can only say that we didn't get shut down. It was a huge success.”
On the strength of it's success, and as a result, Imogen was then accepted into NIDA.
“…The rest can be more easily traced.”
“ So I guess it is safe to say that without me this revival would have had a lot more difficulty in getting sure footing without my earlier efforts. By the time the revival kicked in we already had venues, a burlesque friendly audience and the pay was higher than any other burly scene in the world. It still is. Yes- this is why I'm the Queen of Australian Burlesque and also why I'm like a proud mum.”
http://www.imogenkelly.com.au/
https://www.facebook.com/pages/Imogen-Kelly/211726038906314
BELLA LOUCHE
Bella admits that she honestly feels she has been a burlesque baby her entire life, both consciously and unconsciously. She is an exhibitionist and raconteur by nature, thriving off a passion to tell stories and witnessing the reaction she receives in return.
“I studied ballet and did a theatre degree but finished off with both not quite grasping my niche. I started to distil at the things I love in life: glamour, clowning, craft, dance, irreverence, erotica and absurdism.”
And then, Bella found the perfect place to home all of these elements, where she could mix them all together in performance n the form of Burlesque."
“My first show was at the Peel in Feburary 2011. I did a 50s housewife routine with a lot of dodgy props and a beautiful pink tulle beaded ball gown that my grandmother owned in the 50s but never got to wear. Backstage I met this little redhead who was performing for the first time too and she helped me with my hair as I fumbled with double-sided tape on my nipples for the first time. Her name was Memphis Mae… I got on stage, had a ball, the crowd loved my act and that was it! I was addicted!!! Since then it become an obsession that has taken me to some amazing places where I have met some amazing people…mostly my now home girl, Memphis Mae* though!"
When it comes to contributing to the Burlesque community, Bella is not only a dancer, but also a creator and future producer working in the mix of upcoming performers.
“I have been part of nearly all the main burleasque events in Sydney at the moment in some capacity including: Gallery Burlesque, 34b, The Peel, the Pinup Parlor, Mr Falcons presents Burlesque, Jurrasic Lounge and even a few comps at the Black Cherry. I also am part of burlesque troupe called THE BIG SPENDERS and we created a Facebook themed performance that was very special and slightly scary for Gallery Burlesque’s birthday.”
This troupe performance is a stepping-stone in building Bella’s dream to one day produce her own Burlesque revue that incorporates her unique and raw style.
The women that perform burlesque are what Bella loves the most.
“Women who are driven and in control of their sexuality. Women who are endlessly creative, coming up with the most clever ways to tell stories with their bodies. Women who spend their spare hours burning themselves on hot glue guns to make a bra sparkle just that little bit more. We all have a ball at gigs, we laugh, applaud, holler, shimmy, talk nonsense, occasionally bitch and sometimes have a few too many wines and have a teary moment because the world of burlesque is so engulfing!”
Bella lays emphases on the fact that Burlesque in Sydney is fresh and it's fierce.
“We have some of the best talent here and I think the scene is very supportive in Sydney. I think Burlesque is one of the most accessible forms of entertainment in Sydney, tickets to events are reasonably priced and events occur all over the city. Burlesque shows include a variety of performances and styles that cater to and excite Everyone’s taste.”
Bella believes that Burlesque in Sydney steps beyond performance, she believes that it benefits our culture and stimulates our minds, in the form of revving entertainment.
“Intelligent people turn to burlesque because it provides them with what they need in entertainment. While companies like STC are struggling to include more women writers and directors and producers in their seasons…. the burlesque world is run mostly by women, who have just as valid questions to pose and images to share as men.”
“While Australian theatre/film and television struggles to include more than the “Model” WASP demographic in casting …burlesque celebrates and creates endless opportunities for people who are different. Audiences leave marathon theatre shows at the Opera house exhausted and annoyed after watching virtual masturbation on stage for 4 hours. Audiences leave burlesque nights invigorated. In a burlesque show a performer has around 5 minutes to engage you, arouse you, tell you a story and ask you a question. If they are unsuccessful there are around 9 other performers that will perform that night will succeed in at least one way. The audience is encouraged to be a part of the performance as much as the dancer. When the audience cheers the performance progresses. Amongst the midst of beauty, rowdiness and so many social and political ideas presented on stage one can’t help but leave a show feeling alive.”
“You want to debate those topics, you want to dance and maybe, just maybe you’ll feel like making babies…Babies who will grow up and contribute our economy. How’s that for a contribution!”
A darn good contribution indeed!
https://www.facebook.com/bella.louche
*The fabulous pocket rocket of red headed glory, Memphis Mae is yet to be featured incredibly soon, watch this space!
FRANKIE FAUX
Frankie Faux is an emerging burlesque artist in Sydney entertainment scene. Her interest in performing Burlesque came from an early interest as a child through theatre and art education.
“I’ve always been very creative; I’d make dance routines in my room to my favourite songs but never had the confidence to perform in front of a crowd.”
Once Frankie became a teenager, she became infatuated with the female figure and fascinated by gender roles in society.
“Most of my high school art works and projects explored this notion and were based around this theme. During this research I started to have a strong interest for women in the 1940 & 50s; a time of sexual obsession; that weren’t afraid explore their sexuality. This is when I discovered Pinup and Burlesque. Icons like Bettie Page lead me to find stars like Gypsy Rose Lee. So by the time I was seventeen years of age, I had set a goal that when I turned eighteen …I would start a career in burlesque.
Frankie’s first show was Black Cherry’s Knockout Burlesque Competition.
“I had entered completely unaware of the outcome. I had never really been in front of a large crowd of people, let alone taking my clothes off. But I knew I had to take the leap so I swallowed my fear, sculled my wine and got up on stage. It was the most amazing experience, the routine was a blur but as soon as I got off stage I knew this was exactly what I wanted to do.”
At this time, Frankie was already studying Live Production, Theatre and Events at Design Centre Enmore where every day, she was creating costumes and props.
“Making transition was really easy and they both feed into each other quiet nicely. I make burlesque props and costumes for my assignments and then use them on stage.”
Although Frankie is only a year into her career, she hopes in the future to push the boundaries of burlesque, especially when it comes to production quality and flair.
“In my opinion, Burlesque (and definitely in Australia) doesn’t have enough production quality behind it to push off the ground. As much as burlesque is growing in popularity and there are much more shows in Sydney then there was 10 years ago, it doesn’t have a big enough platform for talented artists to been seen by a wide spread audience. My dream is to raise the standard of burlesque, create events that have the budget and resources to give hard working performers a stage to be seen.”
When asked what she loves about Burlesque, Frankie states that she doesn’t even know where to start! But for one thing, she loves how much it inspires her.
“ I can’t think of another career that lets you create your own concept, costume and props right from the ground up. I’m always creating new ideas for acts – they could fill a book. It’s so self-generated; you’re the only person pulling it all together and performing it on stage. I don’t think I’m much of a team player; so being my own boss is so fantastic. I love the feeling of working so hard on something, sitting up all night sewing, rhinestoneing and practicing. Putting blood, sweat and tears into an act, finally performing it and having a moment were you can breathe and relax. Then as soon as I sitting on the train home, I’m already inspired again, thinking of my next act.”
One more thing Frankie loves, are the beautiful people that she has met during her career.
“I feel so blessed to be surrounded by people that are just so inspiring and supportive.”
Frankie believes that the public has a lot to learn about Burlesque, as at this point, in the scheme of the entertainment world, Burlesque has a much smaller audience than it deserves.
“I think some people think burlesque is too “risqué” for the general public in Sydney. But I think once the public is given the opportunity to see the amazing talent put into shows with more production in bigger venues, that element of nudity will be enjoyed and embraced. Most people I’ve met are quiet open to the idea of burlesque. I think there are few groups in society that aren’t open to erotic themes, but there are also people that don’t like musicals or modern music. It’s the question of taste and for these people I would push them to attend a burlesque show. I think once there is a larger platform for burlesque in Sydney and enough publicity to gain a wider audience, there will be a massive number of people interested in viewing Sydney burlesque.”
Lastly, Frankie believes that Burlesque constitutes an incredibly important sector of our community and culture, as we are living in a world of censorship; and burlesque gives people the opportunity to embrace our sexuality.
“Society tells us that erotic nature is wrong – why? We all have the same bits and pieces, we are all created from sex – Why hide it? When I saw burlesque it inspired me to identify myself as a sexual being and be ok with that. The sexual theme of burlesque isn’t to be crude and vulgar, it’s to celebrate love, difference and beauty.”
“Women throughout time have been subjected to an “ideal” figure, weight and look. Burlesque rejoices individuality, not matter what size; and not only just that, our color, cultures and age. When a natural woman is brave enough to get up on stage and strip down – it gives the audience that same confidence.”
Like any art form, burlesque encourages audiences to ask questions and provokes thought.
“This in it’s self is such an important element in society. This is why I believe burlesque deserves a larger platform”
Frankie’s Upcoming events:
Night of the Stripping Dead – 26/10/12
http://www.facebook.com/NightoftheStrippingDead
School Night Burlesque – 29/10/12
http://www.facebook.com/events/257455714357145/
Jurassic Lounge 30/10/12
http://www.facebook.com/jurassiclounge
The Brilliant Bones of Burlesque Sydney
© 2012 by Rosie Cremer