This past Thursday marked the launch of a six month series of events which will include four monthly cabarets, a special engagement at The ACT (Central Heating Lab) and finally the Seattle premiere of the theatrical adaptation of the collected pulp-fiction novels of Ann Bannon, called The Beebo Brinker Chronicles. The events collectively promise to be "THE gay event of the summer." Thursday night's cabaret showed that it does have the potential to fulfill that promise.
The theme of the evening was Greenwich Village of the 1950s. Lyla la Coeur, Diva le Deviant, and Cherry Manhattan (the driving production team) brought together musical, theatrical and burlesque talent, including the Hot Pink Motion Machine, Fuschia FOXXX, the cabaret's headliner. Other performers included Whisper De Corvo, Ginger Snapz, Angel Alabaster, and jazz artists The John Terpin Trio which along with its featured performances provided instrumental riffs when necessary (a nice touch).
The highlights of the evening began with the pre-show video. Looping through clips of Betty Paige dressing Tempest Storm, old black and white commercials for cosmetic products, an "educational" film telling us that girls who date around aren't as popular as they think they are, and waiting at home for your one guy is the mark of a desirable female (not to mention instructing men to ask their sweeties out well in advance so they have plenty of time to spruce up), juxtaposed with girl on girl wrestling and ending with an dance performance of a Hindu goddess slaying a demon in battle; the film made a clear statement about social expectations.
The highlights of the evening began with the pre-show video. Looping through clips of Betty Paige dressing Tempest Storm, old black and white commercials for cosmetic products, an "educational" film telling us that girls who date around aren't as popular as they think they are, and waiting at home for your one guy is the mark of a desirable female (not to mention instructing men to ask their sweeties out well in advance so they have plenty of time to spruce up), juxtaposed with girl on girl wrestling and ending with an dance performance of a Hindu goddess slaying a demon in battle; the film made a clear statement about social expectations.
The first solo act of the evening was Whisper De Corvo, who debuted a new number, which I'd like to call Whisper's Cotillion. The act blended grace, comedic pantomime, and of course, sexy strip tease. For those of you who have never seen Whisper perform, allow me to make some comparisons. With a face like Audrey Hepburn, the stature of Bea Arthur, and the curves of Marilyn Munroe, Whisper fills the space with both her statuesque frame and her cheerful personality. Her style is comedic, playing to the audience's lighter side, and her strip techniques skirt the boundaries of innocence and down right dirty. Her performance on Thursday night was well played, and the audience seemed to truly enjoy it. Evoking laughter and cat calls, Whisper was a good choice for the opening burlesque act of the show.
Speaking of pantomime, the most "artsy" piece of the night was a three part installment that blended a sensual reading of some of the novel's sexier bits, by Rebecca Olson, and the light hearted, teasing, interaction of two 50s "housewives" as portrayed by Lyla and Cherry. The first two pieces also included Fuschia FOXXX as an awkward (very awkward) young woman who struggled with her attraction to Lyla's character. Funny, and in some ways sad, the story told in these scenes was one that highlighted the socially taboo nature of lesbian lust.
Fuschia would return to the stage in the second act to close the show, presenting a sideshow classic , a "hermaphrodite " number. Dressed as both the French maid and her employer, Fuschia made good use of a feathered fan to hide one half of herself while each character performed. The physical nature of this piece was intense, and both halves of psyche anima and animus showed their strength through movement. This number was both artistically impressive and a definite crowd pleaser, and was an excellent close to the show.
One last thing of particular note was the continuing usage of the Beebo Brinker literature to introduce the various performers. Diva, in a cherry print dress that hugged her curvacious frame and red, 50s style glasses, read selections of the novel with excellent use of flare and breathy accentuations. In each case she inserted the performer into the role of Beebo's lover. This was a brilliant vehicle, expertly driven by the Diva, and I hope it is one that will return in the following cabarets.
Early on the bar was set, the standard high but achievable, and the performers met all expectations. The few critiques I would have to offer are largely things out of the control of the performers. I do hope that the producers will talk to the spotlight operator whose constant fidgeting with the light was more than a little distracting. Sound was decent though at times the pauses between introduction and "music go" were uncomfortably long. Those technical matters aside, Thursday's show was quite strong, and I look forward to attending the future installments.
The Beebo Brinker Pulp Cabarets will be playing through July at The Re-Bar, with the next scheduled for Thursday, May 26th. The guest artists? Fuschia FOXX will be joined by The Shanghai Pearl and Lady TaTas. For those who missed the first cabaret, I recommend that you mark you calendars now.
Loves,
Fosse Jack
Fuschia would return to the stage in the second act to close the show, presenting a sideshow classic , a "hermaphrodite " number. Dressed as both the French maid and her employer, Fuschia made good use of a feathered fan to hide one half of herself while each character performed. The physical nature of this piece was intense, and both halves of psyche anima and animus showed their strength through movement. This number was both artistically impressive and a definite crowd pleaser, and was an excellent close to the show.
One last thing of particular note was the continuing usage of the Beebo Brinker literature to introduce the various performers. Diva, in a cherry print dress that hugged her curvacious frame and red, 50s style glasses, read selections of the novel with excellent use of flare and breathy accentuations. In each case she inserted the performer into the role of Beebo's lover. This was a brilliant vehicle, expertly driven by the Diva, and I hope it is one that will return in the following cabarets.
Early on the bar was set, the standard high but achievable, and the performers met all expectations. The few critiques I would have to offer are largely things out of the control of the performers. I do hope that the producers will talk to the spotlight operator whose constant fidgeting with the light was more than a little distracting. Sound was decent though at times the pauses between introduction and "music go" were uncomfortably long. Those technical matters aside, Thursday's show was quite strong, and I look forward to attending the future installments.
The Beebo Brinker Pulp Cabarets will be playing through July at The Re-Bar, with the next scheduled for Thursday, May 26th. The guest artists? Fuschia FOXX will be joined by The Shanghai Pearl and Lady TaTas. For those who missed the first cabaret, I recommend that you mark you calendars now.
Loves,
Fosse Jack
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