Boom Boom L'Roux's Late Night Revue 4/20

This past Friday night saw the second of three late night burlesque variatae shows occurring this spring at The Triple Door.

Boom Boom L’Roux’s Late Night Revue was hosted by local personality Vincent Drambuie, and featured the talents of the producer, Miss Boom Boom L’Roux, herself, Canadian transplant Lola Lockheart, the fearless, Jenny Penny, Emerald City burlesquers Persephone Illyri, and The Luminous Pariah, and the one and only ‘Yodeling Dominatrix’, Manuela Horn.

The Luminous Pariah and Manuela Horn were the high points of the show.  As a long time Luminous fan, it was a pleasure to see him on the big stage again.  Some artists really shine when they have the space to fill and the freedom to move and he is definitely among them.  Also I burlesque narrated by David Attenborough may be my favorite thing ever.  It was my first time seeing the yodeling dominatrix (well on stage), after hearing about her from other artists and her appearance on America’s Got Talent, and seeing an impromptu song and spanking at a friend’s birthday party.  I was super excited for this opportunity, and the sexy, graceful giantess that she is by no means failed to impress.  'Highway to Yodel' may also be one of my favorite things.

 

Aside: The Luminous Pariah can be caught around town, but next week leaves for a two month tour with his troupe Mod Carousel.  The foursome (which includes The Original Twins, Paris and Trojan, and the Incomparable Leeni) will be stopping in New York and then jetting across the pond to tour Europe.  Manuela can be found as a regular performer at Teatro Zinzanni.  Both can be found on Facebook, and I think you should look them up.

As a host, Vincent Drambuie’s material is tried and well used.  His approach to hosting is a blending Bob Hope style stand-up comedy and unabashed lasciviousness.  His jokes aren’t particularly funny, a fact that he is unashamedly self-referential about, but his commitment to the material and genuine appreciation of the artists he works with, is what makes him good at what he does.

Persephone Illyri’s performances were very pretty, though the material of her second piece was a little confusing.  I loved the dress, the song, the rocking horse, and even the knife play but didn’t understand how they fit together.  Lola Lockheart’s first act was simple and cute, though I think she would benefit from a slightly heftier boa, size does matter when burlesque props are considered. It is all about finding what size works for you! Also, I don’t want to be harsh, but I do need to say, I felt that her vocal selection in act two was ill picked.  It’s a fun song and if you nail it can be show stopper, but it kind felt like she was the nail and the song the hammer.

Jenny Penny’s acrobatic number with performance partner… I didn’t catch his name, was a great take on a classic, old fashioned routine.  They took material that I have seen done at ‘full speed’ and slowed it way down.  You got to see the mechanics of each trick, which was cool, and with the music choice, the routine became sexy.  A simple decision but one I haven’t seen often.  Her fire act was fun, but didn’t quite fill the space.  I would have loved to see her take advantage of the big stage.

As for Boom Boom herself, her style of performance is straightforward tease (at least this selection).  Her contact with the audience is excellent, and she draws things out, going through movements slowly and sensually.  Confident and congenial, Boom Boom L’Roux is a pleasure to watch perform.

All acts considered, this was not the strongest lineup that I have seen at The Triple Door, but it was a promising one.  Boom Boom L’Roux has only recently moved into producing shows on this scale.  With time and a little more practice I believe she will grow into the big stage, and that time may come soon!  Her May lineup is promising and includes: blues artist Lydia Decarllo, the Exposing Composer, EmpeROAR Fabulous!!!, and The Temptress of Taipei, the Shanghai Pearl.

Ladies and Gentlemen, I want to encourage you to check out the third and final (for this season at least) production of Boom Boom L’Roux’s Late Night Revue, which will take place on Friday, May 18^th, show at 11:30 (21+), doors open at 11:00pm.  Tickets are not available yet, but should go online within the next week or two.  Until then check out the performers I’ve listed above, see what you’ve missed and how to take advantage of others opportunities.  You can find Boom Boom L’Roux on Facebook http://www.facebook.com/BoomBoomlroux, and Twitter @BoomBoomLRoux.

Oh, a tip concerning The Triple Door.  Be prepared to wait.  Things rarely start on time at this otherwise splendid Downtown venue.  The serving staff is friendly and responsive, and the shows are worth seeing but unless you actually like the band playing the Musicquarium, standing in line for 30-40 minutes can be somewhat painful.  Just my opinion but I figured I’d share it.

Loves!

~ Fosse Jack

L’Edition Francaise

The “living, breathing, work of art” creates a living, breath French arte film that delighted the senses, boggled the mind, and evoked laughter, tears, and more than one arousal.

Anyone who has read my blog knows that I am a Lily Verlaine fan-boy, and last night’s show at The Triple Door gives me another chance to profess my love and admiration for this artistic goddess and her work.

In celebration of Bastille Day, Lily brought to her audience a series of risqué, comedic and beautiful dance pieces performed to the works of a number of smoky French voices. On the whole it was different. It was beautiful. It was risky.

It is always a risk when you do something different. When people go to a Lily Verlaine show they expect to see beautiful girls, and handsome boys, dancing and taking their clothes gracefully, and dare I say tastefully. Lily is a master of gently pushing her audience, teasing, pulling back and teasing again, without pushing so hard as to turn her audiences off. L’Edition Francaise is no exception to this expectation, but it goes beyond that. It pushes the audience in a way I have never experienced, forcing them to immerse themselves completely in the sensations or risk getting lost in the subtly of the artistic statements, the blinding collage of stimulation, and persistent language barrier. It forces the audience to think like the French, and not like Americans. Risky.

I cannot speak for the entire audience but for this viewer the experience was amazing. Letting go of my own thoughts and preconceptions, allowing myself to sink into the story that I could only partially understand was a refreshing exercise in surrender. However, I am at a loss to describe why this show affected me like it did. Perhaps it is something that cannot be explained, but only experienced. Or perhaps the sensation of being forced out of my Ameri-centric thought patterns was more than my brain could handle and still leave room for rational thought. Whatever the case, it is truly a shame that this was a onetime event.

From the tricycle pedaling mime pick-up artiste, a lip syncing ensemble, to a cute as a button baby shark, spirited go-go dancers, and a Pilobolus-esque town car, to handsome men with cigarettes in hand, beautiful girls sunbathing, and a beautifully choreographed gang-bang (how French), to a fantastic pas de deux between Paris Original and Kylie Shea, and a sensational finale that left me speechless and on the brink of tears (and my date thoroughly confused), Lily Verlaine’s Night Cap L’Edition Francaise was without a doubt something I will remember for a long time. Brava divas!

Love ~ Fosse Jack