The "BGB" and The Cog Days of Summer

Some time ago the world experienced what could be described as a Big 'Glitter' Bang, an explosion of creativity and sparkles that dazzled and delighted.  Today, as the material of the BGB continues to spread, and coalesce into new performers and pieces, we are nearing the time when performers will need to solidify and become true celestial bodies if they are going to survive.  We won't all be stars, but we can become satellites of these giants, both reflecting and being nourished by their radiance.  Hey planets are pretty amazing things even if they aren't seen as clearly or prominently as stars.  Until the time when these things take shape however, we will have to deal with the debris of the BGB and the often unfinished products that emerge from it.

Ok, setting the astronomical metaphor aside, my point is this.  There are a LOT of new burlesque artists out there.  They have some good ideas, some talent, and some moxy.  What they often lack is guidance (yes I do hold to an Intelligent Design Theory of Burlesque), and the direction needed to move from proto-performer to artist.  Here in Seattle, we are lucky to have Miss Indigo Blue (congratz luvs!!!!) and the incomparable Academy of Burlesque to get things started, but after graduation many performers start to fray around the edges.  New works are not polished, and sometimes not fully thought through.

Last night I had the opportunity to see a show produced by the delightful Violet DeVille, called the Cog Days of Summer, a steampunk themed show.  First, let me say that I love the steampunk aesthetic, and the play on words is clever.  Second, allow me to remind you of my feelings on themed shows.  They are either awesome and mesh up well together, or they feel thrown together.  It is HARD to do a themed show, which is why I avoided it at all cost with Jack & Wood.  It takes careful planning, and a lot of artistic jimmying to make it work.  If your seques aren't planned to the letter, to help things fit... it just kind of falls apart.

Cog Days... skirted the line of falling apart; awkward scene changes, technical difficulties (juggling cds... also HARD), and a new emcee who while entertaining didn't quite know the genre well enough to guide us down the back alleys of the a steampunk world.  That being said, it had a lot of potential... it just needed a week of dress/tech rehearsals.

I feel so guilty saying this because I can't tell you how many times I have put on shows without enough rehearsal, and I work with actors who volunteer there time!  It is exspensive to pay artist rehearsal time.  It is expensive to rent rehearsal space.  It is expensive to hire a sound egineer to design your run list.  It is a damn shame that new producers with clever ideas have to settle for unfinished products because they don't have the capital to build something more exceptional.  And often times it boils down to that.  Burlesque artists are broke.

My general feelings expressed, I want to offer a few pieces of constructive criticism to the artists I saw last night.  Take these with a grain of salt, and know that I truly want you to excel.

1. The Guitarist of Deseo Carmin... chill dude! Getting angry at the sound tech on stage detracts from the fact that you have some skill with that instrument of yours and your flamenco inspired vocalist is working her little tush off to be heard.  The aucousitics of the Jewelbox are wonky, and there is no real moniter on the stage, deal with it.
2. Chesty LaRue, sweetie you were funny.  I loved the clowning, and the alcoholic stashes where cleverly placed.  But why are you taking your clothes off?  What is your character's motivation? Strippers take their clothes off because it is expected of them, burlesque artists have to find the reason beyond of the audience desire for T&A.
3. Scarlet O'Hairdye, I really enjoyed your act.  It was clever, and it fit the theme very well.  The music was a rough choice though.  It looked like there were jokes written into your choreo that were lyric based and the audience couldn't really hear or understand the lyrics.  I've run into this problem before.   There is nothing wrong with the music itself, and in an ideal world it would work beautifully.  Just be aware that the audience will only rarely get lyrics based jokes.  Especially since your vivacious glitter soaked bod is distracting. :-)
4. Dahlia Ste. Cyr, honey, you have a great idea!  You might want to approach it from a different angle.  Also, have you considered revealing the device itself?  Teasing the audience by slowly revealing an industrial strength vibrator?  It could be really good.  Let's talk sometime!
5. La Petit Mort, this is the strongest burlesque piece that I've seen you do, and I LOVED the science trick.  Science is sexy!  My one piece of advice is don't stop using those feminine wiles when your lover makes his entrance.  You are standing there in next to nothing... seduce him!  Play up the kink of waiting to pounce and pleasure your lover when they get home from work (or wherever).  Work with that stud of an assistant to add a little duet movement or stage acting to the finish of the act.... (also having him collaps upstage of the table would probably be a good idea... easier to clean up. :-)
6. Beatrice Belladona, darling, I love you.  I love the contrast of prim and proper mistress and down and dirty Mistress.  I love the contrast of Victorian meets Rammstein (is that right?).  I just want to pass on a note that directors have given me for years... stillness can be powerful.  You have very clear movements in your reveals, and a lot of strength, but the constant back and forth lessens your power.  Use that imperious statuesque majesty that you generate and really dominate the audience.
7. Violet DeVille, I loved your act.  You make use of the most graceful parts of your range of movement.  You know your body and you use it well.  You are clever (the gear wheel pasties... BRILLIANT), and are a natural performer.  Also, having danced the automaton before, waiting for music to start can be excruciating and you handled it like a pro.  That's all. 

And with those pretentious two-cents comements, I am all but through with this article.  One parting remark however.  Burlesque is entering the mainstream theatrical world.  It is reaching a broader audience base, and as such we will have to clean up our acts a little to keep those audience members coming back.  Yes T&A are awesome, but we have to give them more than that, we don't have to give them high art, (most of them don't want high art) but we have to start offering more polished pieces.

If any of this is helpful use it.  If it isn't then ignore it.  In either case know that I love you all.

~ Fosse Jack