New Orleans stories dominate top of 21st Century Burlesque’s list for 2015

Posted on January 8, 2016 by davidleesimmons under burlesque

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Stories about New Orleans burlesque performer Ruby Rage and Chicago performer Jeez Loueez’s experiences at the 7th annual New Orleans Burlesque Festival were the No. 1 and No. 2 most popular articles of 2015 for 21st Century Burlesque magazine.

The popular media outlet published three separate posts on the Ruby Rage controversy, which received heavy media attention in New Orleans as well at both NOLA.com and Fox8. There was the first article breaking the news, and then a response from performer Dirty Martini, followed by a response from New Orleans’ own Bella Blue, who produced the “Blue Book Cabaret” show at Lucky Pierre’s at the center of the Ruby Rage controversy:

If we learn anything from this, it has to be that communication is super, super important. The huge flaw is the actions of the individual speaking for the club online – and I don’t know who that is – but it was really difficult to watch. It seems clear that very little research was done, and people were referenced in their statement without being contacted or consulted. It demonstrated no real knowledge of the art form or the community. And then when whoever was speaking tried to pull it in a different direction – claiming dissatisfaction with Ruby’s performance – well, too late now. If that had been clearly communicated from the beginning we wouldn’t be here now.

Blue cut ties with Lucky Pierre’s, which closed later in 2015. Ruby Rage provided an official statement on the subject as well, which can be read here.

Jeez Loueez, who earlier in the year performed at Kali von Wunderkammer’s Storyville Rising show at Cafe Istanbul, raised several issues — many related to the use of hip-hop and the representation of performers of color — at Rick Delaup’s festival in a lengthy YouTube video. 21st Century Burlesque reported it here. Here’s the video:

Both articles clearly struck a nerve with a national audience and were not confined to New Orleans alone, and illustrated how what happens in the Crescent City’s burlesque scene can speak to larger issues, whether about how body image is perceived among burlesque audiences (and in this case, club management) or about race and burlesque. (I addressed this issue on the eve of both the New Orleans Burlesque Festival and seasonal The Roux: A Spicy Brown Burlesque Festival.)

21st Century Burlesque’s Top 50 poll is due out soon. I wonder what compelling stories might emanate from New Orleans in 2016. Stay tuned.

Check out the best in New Orleans burlesque, circus and sideshow for 2015

Posted on January 6, 2016 by davidleesimmons under burlesque, circus

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I’ve looked at the New Orleans burlesque and circus scenes for 2015. This was capped off with a series of “best of” polls recognizing the work in several areas. The reasons for the polls were many. It seemed like a nice way to help put a cap on what became for me a year of covering a vital facet of New Orleans’ performance scene. It also seemed like a nice way to shine a spotlight on both the performers and productions throughout the year, both to provide exposure for the scene and to serve as an informal taking of the pulse on what fans were responding to.

The appearance, rollout, structure and even idea of the poll, however, made things more complicated than expected, and the rollout seemed to enjoy all the smoothness of the Obamacare website — a bit of excitement, a healthy dose of confusion, and some fairly heated discussion about its very existence. So there were basically two concurrent discussions — why do it, and why do it in the manner presented?

The first discussion was by far the most complicated, because for many in the scene it raised the possibility of turning what serious, artistic-minded people do into a popularity contest. (More than one performer told me privately it was like being back in high school again, with the prom queen title up for grabs. Some politely requested not to be listed in the polls.) This particular discussion inspired Bella Blue to blog about it with a post titled “Competition vs. Community.” In it, she set up the two notions as a false choice and argued that, in the real world — one that acknowledges that burlesque is also a business — competition can be just as beneficial as community. She went on to point out that burlesque can be about both the art and the commerce; that polls can be fun and motiving; that going for titles (or “crowns”) and striving to be the best doesn’t necessarily have to come at someone else’s expense.

(Indeed, when Bella Blue was voted the No. 16 burlesque performer by 21st Century Burlesque, and Trixie Minx didn’t make the poll, it didn’t seem to hurt her popularity or business or art at all.)

That’s all to say that, as Bella Blue noted, a discussion about polls in particular or competition in general is perhaps something that might have been needed for some time. On a personal level, I appreciate that ambivalence in spirit while firmly believing the overall benefit is invaluable. I’d add that New Orleans has not one but two awards for the music and theater scenes. When someone as legendary as former Meters bassist George Porter Jr. openly campaigns for votes on Faceook in Offbeat’s “Best of the Beat” awards poll, well, it helps put things in perspective.

As for the structure of the poll, there was discussion primarily about which performers and productions initially were placed on the poll, and where everything and everyone belonged — which led to some unnecessary confusion. If this had been conducted in my previous position, it would have benefited from a larger team in place and perhaps a longer build-up and promotion. But being a “one-man show,” so to speak, I went with my knowledge of the scene or scenes — admittedly a work in progress — in creating a core group of nominees for consideration and added names based on reader suggestions. I also took the advice of some producers and divided the circus and sideshow performers into separate polls.

So I moved forward with the polls, with two clearly stated guidelines: Readers were welcome to add their own candidates/nominees, and readers should refrain from voting multiple times for their favorites. Readers were very good, often passionate about the former, but not so much about the latter. So the votes had to be analyzed, and multiple voting was tossed.

But taking that into consideration, I decided to present the results in a more inclusive fashion, with winners broken down into a “Top 10” or “Top 5” list, and listed alphabetically — along with an occasional “honorable mention” to make note of some pretty tight voting in some categories. A first-time poll, and a rather unscientific one at that, didn’t need to focus too heavily on the very top vote-getters.

For me, ultimately, there were few surprises. The balloting, with some notably obvious exceptions, reflects what in my mind is out there: a lot of talented performers who have made their mark, and productions that are establishing a legacy. As for the future, I might offer some thoughts in another post, but for now, let’s enjoy this informal take on the best of New Orleans burlesque and circus arts.

And once again, check out my overview of this landmark year here.

BEST OF NEW ORLEANS BURLESQUE, CIRCUS AND SIDESHOW

PERFORMERS
Best burlesque performers in New Orleans 2015
Bella Blue
Cherry Brown
Leo Danger Lace
Remy Dee
May Hemmer
Roxie le Rouge
GoGo McGregor
Trixie Minx
Charlotte Treuse
Angie Z
Honorable mention: Xena Zeit-Geist

Best circus performers in New Orleans 2015
Chatty the Mime
Guglielmo
Lady Satine
Magic Mike
Ooops the Clown
Honorable mention: Thugsy Da Clown

Best sideshow performers in New Orleans 2015
Kitty Kaos
Dr. Sick
Lydia Treats
Donny Vomit
Kali von Wunderkammer
Honorable mention: Eli Rose

Best burlesque/circus show emcees in New Orleans for 2015
Dante the Magician (Bustout Burlesque)
Chris Lane (Fleur de Tease)
GoGo McGregor
Dr. Sick (Big Deal Burlesque, Bustout Burlesque)
Rev. Ben Wisdom (Dirty Dime Peepshow)

PRODUCTIONS
Best burlesque/circus show in New Orleans 2015 — annual production
Cirque du Gras 2 (Feb. 13-16), St. Roch Firehouse; produced by LadyBEAST
New Orleans Burlesque Festival (Sept. 15-18), multiple locations; produced by Rick Delaup
NOLA Nerdlesque (Nov. 19-22), Frenchmen Theater at Bamboula’s; produced by Persé Fanny, Vincent Galliant
Snake Oil Festival (June 19-21), Howlin’ Wolf; produced by the Rev. Ben Wisdom, Ginger Licious and Little Luna
Storyville Rising (May 16-17), Café Istanbul; produced by Kali von Wunderkammer

Best burlesque/circus show in New Orleans 2015 – specialty
“CREAM!: A Night of Decadent Burlesque, Drag, and Cabaret,” at One Eyed Jacks (Bella Blue and Kitten N’ Lou)
“The Demon Boobs of Skeet Street: A Sweeney Todd Burlesque,” at Old Marquer Theater (Picolla Tushy presents The Bluestockings)
“Doctor Who-Ha: A Doctor Who Burlesque Play,” at Eiffel Society (The Society of Sin/Krewe du Who)
“Home: A Burlesque Tribute to New Orleans,” at Republic New Orleans (Remy Dee)
“In Wonderland” (Cirque Copine)

Best burlesque/circus show in New Orleans 2015 — monthly/seasonal
Big Deal Burlesque, at various locations (Roxie le Rouge)
Bustout Burlesque, at House of Blues (Rick Delaup)
Dirty Dime Peepshow, at AllWays Lounge (Bella Blue Entertainment)
Fleur de Tease, at One Eyed Jacks (Trixie Minx)
Fly Movement Salon, at Café Istanbul (Liza Rose)
Honorable mention: Bad Girls of Burlesque, at House of Blues/The Parish (Rick Delaup)

Best burlesque/circus show in New Orleans 2015 – weekly
“Blue Book Cabaret,” Saturdays at Bourbon Pub and Parade (Bella Blue Entertainment)
“Burlesque Ballroom,” Fridays at Irvin Mayfield’s Jazz Playhouse (Trixie Minx)
“Vixens & Vinyl,” Wednesdays at Spitfire Bar
“Talk Nerdy to Me,” Saturdays at Dragon’s Den (The Society of Sin)
“Comic Strip,” Mondays at Siberia (Chris Lane, Ooops the Clown)
Honorable mention: “Whiskey & Rhinestones,” Thursdays at Gravier Street Social (Bella Blue Entertainment)

No, seriously, check out my overview of this landmark year here.

A look back at New Orleans burlesque, circus and sideshow in 2015

Posted on January 6, 2016 by davidleesimmons under burlesque, circus

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The year 2015 in New Orleans burlesque, circus and sideshow entertainment might go down as one of the more memorable in a scene that might be approaching a turning point. As producers sought more ambitious shows and performers sought greater exposure, the scene felt by year’s end like it was on the edge of something bigger.

Four of the top burlesque producers were emblematic of both the growth and challenges of the industry. Bella Blue, who in January was voted the No. 16 burlesque artist in 21^st Century Burlesque magazine’s popular readers’ poll, was able to do the unthinkable and stage a weekly burlesque show, “Risq,” at Harrah’s New Orleans Casino. Trixie Minx, whose Fleur de Tease gave Bella Blue her start, launched her “Fantasy” show for an adults-only cruise. (She also ruled as the “Queen of the Insane” for krewedelusion and used the year to help promote the New Orleans Musicians’ Clinic.)

Both Minx and Blue enjoyed notable performances outside New Orleans — Blue as the featured performer at the international Boylesque Festival Vienna, and Minx (with Piper Marie) in “The Burlesque Show” at the Borgata Hotel Casino & Spa in Atlantic City in late December.

Roxie le Rouge continued to build on her reputation as the most consistent exporter of the form by taking variations of her Big Deal Burlesque across the Southeast while continuing to perform with Fleur de Tease. Her Big Deal shows enjoyed increased attendance to the point of sell-outs.

Rick Delaup’s two regular shows — Bustout Burlesque and the 2014-launched Bad Girls of Burlesque, at the House of Blues and its Parish room, respectively — continued to draw large crowds. (Stupid Dope tabbed Bad Girls as “the most dope show in town.”) He marked Bustout’s 10^th anniversary in 2015, and his 7^th annual New Orleans Burlesque Festival broke attendance records while crowning Miss Stormy Gayle as the Queen of Burlesque. It came after the Bustout Burlesque regular’s return to New Orleans after spending the past few years in Los Angeles.

Even Miss Exotic World, the competition held at the annual Burlesque Hall of Fame Weekend, featured New Orleans connections. Former New Orleans performer Perle Noire, who earlier in the year finished second in the 21^st Century Burlesque poll, finished as first runner-up. (A former Bustout Burlesque regular and Queen of Burlesque winner, she also returned to New Orleans to perform at Bella Blue’s “Risq” show.) Dallas’ Ginger Valentine, a frequent guest performer with Bustout Burlesque and who’s recreated the famous “Evangeline the Oyster Girl” act, repeated her 2014 finish as second runner-up.

But there were some challenges. Bella Blue’s attempt to bring drag and burlesque together on Bourbon Street hit a snag when news of the dismissal of performer Ruby Rage (presumably over her weight) from the “Blue Book Cabaret” lineup at Lucky Pierre’s led to Bella Blue ending her relationship with the club. Lucky Pierre’s closed later in the year. “Blue Book Cabaret” wound up at Bourbon Pub and Parade and remains there. She was successful with another burlesque/drag mash-up with “CREAM!” at One Eyed Jacks over Southern Decadence, inspiring her to do a similar show, “Touché,” at the Joy Theater for this year’s Mardi Gras.

Her weekly “Risq” show was shelved at Harrah’s over the football season, though there remains a chance it will return in 2016. Also, she found a permanent home for her New Orleans School of Burlesque inside the Healing Center on St. Claude Avenue. And as popular as the New Orleans Burlesque Festival has become, one African-American performer, Chicago’s Jeez Loueez, expressed concern after her experience as emcee for the “Bad Girls of Burlesque” show at the House of Blues. In a YouTube video, she discussed everything from the traditional aspects of the festival to the use of such black-culture dance forms as twerking — and the lack of performers of color. (This was in keeping with related issues raised by New Orleans performers right before the festival.)

And by year’s end, some performers complained about a lack of work in town, which could either be a blip or an indication the scene might be hitting another peek.

Still, 2015 remained a year of major highlights. Other aspiring producers brought a flood of new and possible annual shows to the stages over the course of 2015. Blue Reine’s seasonal “The Roux: A Spicy Brown Burlesque Show” became so successful that she announced on Jan. 1 that it will become a festival in September. This underscores Reine’s reign as New Orleans’ main host for shows featuring performers of color. Another performer, May Hemmer, launched her first-ever New Year’s Eve party, “A Gatsby Affair.”

Kali von Wunderkammer brought two new festivals, the Southern Sideshow Hootenanny and Storyville Rising, to town, while the Rev. Ben Wisdom teamed up with Little Luna and Ginger Licious for the wildly popular Snake Oil Festival at the Howlin’ Wolf. (That festival will return in 2016.)

Von Wunderkammer and Remy Dee each produced Katrina-themed shows in August — Dee with her “Home: “A Burlesque Tribute to New Orleans” and Von Wunderkammer with “Broken Levees, Broken Hearts” on Katrina’s 10^th anniversary, Aug. 29.

Both The Society of Sin (led by Xena Zeit-Geist) and Picolla Tushy presented a flurry of themed shows throughout 2015. The Society of Sin tapped into nerdlesque with narratively driven shows such as “Dr. Who-Ha,” and Picolla Tushy created such literary-minded shows as “Summer Lovin’.” (“Dr. Who-Ha” will enjoy an encore performance at this weekend’s Wizard World Comic Con, Jan. 8-10.)

As burlesque continued to establish its foothold in the scene, the circus arts enjoyed a stronger presence as well, most notably through the work of producers LadyBEAST and Liza Rose and their tapping into a wide variety of performers. They were notably featured in LadyBEAST’s Cirque du Gras 2 during Mardi Gras and Rose’s monthly Fly Movement Salon, an incubator of circus arts performers. The pair also formed the all-female troupe Cirque Copine, which presented the popular “In Wonderland” show in Bywater.

(Bella Blue wasn’t the only performer to go international, either. Circus performer Clay Mazing performed overseas for Syrian refugees, first with Clowns Without Borders and later with his own Emergency Circus. And Magic Mike, the Fleur de Tease regular, competed in the 2015 FISM World Championship of Magic, held July 6-11 in Rimin, Italy.)

LadyBEAST and Rose plan more larger-scale productions in 2016 as the circus-arts performers and producers stake out a larger claim of territory in the wide and often hard-to-define world of variety performances. Stay tuned for more from them.

So what else to look for in 2016? Bella Blue promised a big announcement at her “Touché” show on Jan. 28, so there’s that. Trixie Minx always has something up her sleeve, as does Roxie le Rouge. Rick Delaup’s New Orleans Burlesque Festival will probably continue to be the biggest show in town.

But what should happen for New Orleans’ burlesque and circus scenes in 2016? What would it take to get burlesque mentioned in the same breath as, say, the city’s venerable music and theater scenes? What defines a successful burlesque scene? Regular work for its performers, or at least enough to keep them in New Orleans, might be a nice place to start. Performers, while on social media, constantly question whether they can keep doing what’s fun when they’re faced with mounting bills. Only a handful of the city’s burlesque artists do it as a full-time concern, and a vast majority of them spend a lot of emotional capital on moral support for one another. Musicians face a similar challenge, but when you’re literally bearing your body along with your soul onstage, it seems somehow different.

I’ll save my thoughts on what might make for bigger and better burlesque and circus scenes for a future post — mostly, frankly, playing off what the producers and performers might like to see. But based on private and on-the-record interviews, it would be nice to see, among other things, a scene with producers and performers working more collaboratively, both outside and within. I was reminded of comments by J.D. Oxblood, co-creator of Burlesque Beat magazine and frequent New Orleans visitor: “What’s most exciting about the New Orleans scene is the crossover with the drag community and recent attempts to move into traditionally tourist-dominated spaces. But like many cities, New Orleans seems to be dominated by just a few producers — who may be amenable to out-of-town performers, but less welcoming to outsider producers.”

It would be interesting to see how the scene plays out in 2016, and whether it continues to grow or suddenly plateau, but one thing is certain — growing exposure of what’s happening in the city can only benefit its performers and producers. That said, here’s a look at the “best of” in these two scenes.

Read the results here.

Bella Blue returns for Mardi Gras with “Touche” Jan. 28 at Joy Theater

Posted on January 4, 2016 by davidleesimmons under burlesque

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Building on the success of last year’s “CREAM!” show, Bella Blue Entertainment returns with another variety show in time for Mardi Gras with “Touché” on Jan. 28 at the Joy Theater. Drag queen BenDeLaCreme, the former “RuPaul’s Drag Race” contestant who emceed last year’s show (held at One Eyed Jacks), returns as the emcee for this show that promises performers from the over-lapping worlds of burlesque, cabaret and drag.

“In true New Orleans fashion, ‘Touché’ ́promises a night to remember with an eclectic mix of performances ranging from classic Bourbon Street style burlesque to drag, boylesque, neo performance art, and more,” Bella Blue said in a press release Monday. “… We will also be revealing the latest project from Bella Blue Entertainment … you’ll have to come to the show and see it for yourself!”

Tickets start at $20 and are available here; VIP seating is available.

The lineup: Chicago’s Ray Gunn, 2013 King of Boylesque; New York City’s Gal Friday, “The 5 Alarm Fire of Burlesque”; New York City’s Madame Rosebud, “The David Bowie of Burlesque” (watch video below); Nona Narcisse, co-founder of New Orleans’ Slow Burn Burlesque; and Bella Blue. The “CREAM!” show, held during Southern Decadence, was co-produced by the burlesque team Kitten ‘N Lou (with former New Orleans burlesque performer Kitten LaRue) and featured BenDeLaCreme as emcee with performances by New York City’s Chris Harder and New Orleans entertainers Vinsantos, Eros Sea and Lady Satine.

The Thin White Duchess from Abe Goldfarb on Vimeo.

Vote for the best in New Orleans burlesque and circus performers, performances for 2015

Posted on December 27, 2015 by davidleesimmons under burlesque

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(UPDATE: Voting has closed. Thanks for participating. Results will be posted Wednesday, Jan. 6.)

The year 2015 became a landmark year for New Orleans’ expansive burlesque and circus arts scene. Throughout the years, audiences were entertained by new productions from weekly shows all the way up to festivals and specialty productions. (We even saw not one but two Katrina-themed shows). As part of a look back at this banner year for a scene that promises to be discussed in the same breath as the city’s vibrant theater and comedy scenes.

I’ll take a more direct look in that year later in the week, building the coverage I wrapped up while at NOLA.com | The Times-Picayune. But first, here are some polls to consider in terms of your favorite performers and performances. One rule, and this will probably done on everyone’s word of honor: no ballot-stuffing. Please, one person, one vote, for each poll.

Let’s start with the biggest one: the performers, broken down by burlesque performers, circus and sideshow performers, and emcees. (Please note: The burlesque performers category was so obviously loaded down with talent, for this poll I wanted to A) Focus about the top 30 in my mind, and then let the readers add in any they feel are missing, and then B) Present a “finalist” poll later in the week. The other performers are in small enough categories to remain as is. That said, the burlesque performers category:

And now for the circus performers:

And now for the sideshow performers:

And now for the burlesque and circus show emcees:

Next up: annual productions, which include multiple-day festivals that have become magnets for national touring artists (and a lot of first-timers in 2015):

Next up, we’d like to look at the “specialty” shows in 2015 — shows that also happened once in the year (more or less) but at this point might be considered unique to 2015 (until further notice at least). Some have enjoyed encore/return performances, but the general idea is, they were special to this year:

Monthly burlesque and circus shows have proved to be extremely well attended throughout the year, and help keep interest alive in the scene on a regular basis. (If only they wouldn’t suffer from so much over-lapping bookings, but more on that later.) Here are the favorites:

Weekly shows also do a great show of providing a steady, virtually daily opportunity to enjoy the burlesque and circus scenes in New Orleans, from divey bars to Harrah’s New Orleans Casino:

So let the voting begin, and again, please, one vote per person. The results will be released at the beginning of the year (which is, like, really soon). And please feel free to share with your friends on social media with the hashtag #bestnolaburlesque.

Lucky Pierre’s, Bourbon Street nightclub for drag and burlesque, to close

Posted on December 3, 2015 by davidleesimmons under nightlife

Yarinez Mercado

Dante the Magician

“Flim Flam Variety Hour”

Ruby Rage

“Blue Book Cabaret” when it was at Lucky Pierre’s

Bella Blue

Lucky Pierre’s, which over the past year tried to blend drag shows with a variety of burlesque-themed shows, will close, an employee at the club confirmed Thursday (Dec. 3) night.

“It’s really true. We found out last night,” said Yarinez Mercado, who performed under the drag name Yari Dumar. (She commented on a story I did on the transgender community’s response to the Caitlin Jenner news.)

The nightclub seemed to have a rocky time while trying to blend drag and burlesque shows during its brief time on the Bourbon Street strip. Hawkers outside the club constantly encouraged locals and tourists to come inside and witness a shows such as “The Real Drag Queens of New Orleans” in the main bar and “Drag Cabaret” in the patio bar inside a courtyard.

The burlesque programming was a little rockier. Popular burlesque performer Bella Blue established her “Blue Book Cabaret” show at the club for several months before one of the performers in her lineup, Ruby Rage, was forced out by management in February in which she said was because of her weight. Following a public-relations nightmare that played out on the club’s Facebook page (with messages defending the move being posted and pulled as commenters erupted in anger), Bella Blue ended her relationship with the club and eventually moved the show down the street to Bourbon Pub and Parade. On Thursday, Bella Blue expressed disappointment about the club’s closing.

“I’m very sorry to hear that Lucky Pierre’s is closing. It’s bittersweet. There are a lot of good people who continued to work there after The Blue Book was pulled and no one deserves to lose their income; no matter what the reasons,” Blue wrote. “I don’t know why it’s closing. It doesn’t matter at this point. It was fun while it lasted. We had some of our best shows there and made so many wonderful friends in the process. What happened earlier this year was truly one of the most difficult things I personally had experienced and it affected a lot of people. But now there are a lot of talented drag queens who need spots in shows. So, let’s support them and hire them as they figure out what’s next.”

Dante the Magician began presenting “The Flim Flam Variety Hour” as well as “Dante’s Dirty Tricks,” at the club earlier in 2015, entertaining customers with a mix of magic, human tricks and boylesque performances featuring, among others, Donny V.

I’ve reached out to management for comment and hope to hear back soon. Come back here for more details.

Bella Blue’s top 5 lessons learned from BurlyCon 2015

Posted on November 24, 2015 by davidleesimmons under burlesque

New Orleans burlesque producer and performer Bella Blue discusses PR and marketing at BurlyCon 2015. (Photo by MC Newman)

UPDATE: I failed to mention, you can catch Bella Blue at tonight’s “November Rain” show at the AllWays Lounge, featuring performances by Nikki LeVillain, Charlotte Treuse, Miss Monarch M, Nona Narcisse, and of course Bella Blue.

EDITOR’S NOTE: New Orleans burlesque producer and performer Bella Blue is, if nothing else, a body in motion. She runs the New Orleans School of Burlesque, she produces tons of local shows (“Whiskey & Rhinestones,” “The Dirty Dime Peepshow,” “Blue Book Cabaret” and more), and she literally travels the world promoting and performing. So I thought it would be instructive to ask her to come up with her own “Top 5” list of things she learned from her most recent sojourn: BurlyCon, held Nov. 12-15 in Seattle and one of the largest gatherings in the nation. Here’s what she came away with:

It is late on Tuesday evening and I am just getting my bearings following not just a red-eye flight but an annual convention that takes place in Seattle (well, Sea-Tac) called BurlyCon. What is it? It’s exactly what it sounds like: a four-day convention dedicated to all things burlesque.

It is said that the first-ever burlesque festival took place on a goat farm in the desert in Helendale, Calif. Known then as Miss Exotic World (today know as Burlesque Hall of Fame), the festival was started by the late, great Dixie Evans. She has become the official/unofficial mother in the preservation of burlesque history. You could call her on the phone and she would personally give you a tour of her museum.

Nowadays, for every state you have at least one burlesque festival. For every country across the world, even more. However, BurlyCon is the only festival of its kind (that I know of). These four days are focused on nothing else but education and community. It started in 2008 with just about 60 attendees, and it is estimated that there were at least 600 in attendance this year. (The final numbers aren’t in yet.)

With the growing interest in burlesque as an art form, a hobby and a career; I believe that a convention of this kind is necessary. Burlesque is one of the only types of performance that you don’t actually have to acquire any formal training prior to performing in front of a live, human audience. With the growing amount of shows and performers, that means that there are a lot of people taking the stage who have no idea what they are doing.

I know. We all started somewhere. I’d be lying if I said I knew exactly what I was doing when I started — but, I didn’t know about BurlyCon then. And if I had, you bet your G-string that I would have figured out how to get there! But now there’s burlesque classes and schools all over the country. There is no reason to take a stage with zero information or training.

This year at BurlyCon, the majority of my classes were filled with students who had been performing for three years or less or had never even taken the stage yet. I had the honor of being asked to teach four classes and moderate one panel discussion. I could choose anything I wanted to teach and choose whichever topic I wanted for the panel discussion, although they were very interested in teaching and talking about issues that were learned from the situation with Lucky Pierre’s in March of 2015. (If you don’t know what I’m talking about, just Google it).

My partner and I arrived in Seattle last Thursday and hit the ground running. Between teaching classes, taking classes, catching up with friends, making new friends, our exhausted bodies landed back in New Orleans at 8 a.m. on Monday morning. I feel refreshed, inspired and excited to bring this back to the New Orleans scene. When approached by David Lee Simmons to write a piece on BurlyCon, he asked for a list. This really excited me because I do love a good list!

So, without further adieu, here are the top 5 things I learned from BurlyCon 2015…

The bodies of burlesque are widely diverse — This year I saw so many beautiful people representing burlesque from their state. I assume that perhaps to an outsider, they would assume that this con would be mostly female-bodied people. This year — more than I’ve seen in my four years of going — I saw all types of people, from non-gender-conforming to trans people to cis males and females. There were people there who came because they clearly felt a sense of acceptance within this community. Some were not even performers but just supporters and admirers of burlesque. They were welcomed just as much as the people who take to the stages night after night, weekend after weekend.
Our industry is full of knowledge seekers — They are open to listen and discuss the issues that are important to each other, not just themselves. From the pressures of the social beauty standards and how they affect burlesque to incorporating tango moves into your choreography. (This is actually how diverse the classes are at BurlyCon.) It makes me excited to think that people are going back to their cities and bringing new classes to their communities as well as taking more classes themselves. Conventions like this really spark a lot of inspiration.
Here’s where the hard truths come out — With an industry that is so spread out and so many shows happening across the country (and the world), that also means that the quality suffers. I have yet to find the balance or the answers in how a community can exist with such a wide spectrum of involvement from the people in it. How do you balance the “Burlesque is for everyone!” mentality with the “I do this for a living and take it very seriously!” mentality? I honestly don’t know. This year, I saw fewer veterans of burlesque than I had seen in previous years. I saw way more faces that I had never seen before, and, after watching some of the acts brought to the nightly peer reviews, I wasn’t really sure how I felt about the future of the industry based on the performances I had seen.
Spending time listening to a burlesque legend is never time wasted — If at any point, you are at a convention where a burlesque legend is there, I advise you to seek them out and have a chat with them. They love answering your questions and talking about what it was like “back then.” They are full of information and give full meaning to the phrase “No fucks to give.” They are unapologetically honest and straight up.
As serious as I personally take burlesque as my career, I do have to remember that at the end of the day, it’s not that serious — While we were in Seattle, the attacks on Paris (and other areas of the world) took place. While we were safe in our hotel and had the privilege of attending this convention, there was so much going on outside our bubble. I felt really conflicted about enjoying my time there and I know a lot of other people in attendance were feeling the same struggle. But, at the same time, it was a reminder that getting worked up over “good burlesque” vs. “bad burlesque” and proper technique of showgirl poses maybe really aren’t that important all the time. What is important is that this art form is alive and well. Right now. For me, it made me grateful for the chance to live another day to take the stage and entertain the world in it’s time if need.