Tag Archives: burlesque

Lou Henry Hoover on the notion of gender in queer performance art (Artist Statement)

Posted on by under burlesque, drag, lgbtq, theater

 

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(Editor’s note: As we resurrect PopSmart NOLA, we do so with more intention of making this a forum for the creative people of New Orleans. The inspiration came from, of all places, a sports-related website. (Read more about that soon.) This means more content generated BY the artists and entertainers of New Orleans who explain their craft, their performances, their intentions, their challenges, you name it, as a way of making PopSmart NOLA a forum and a safe space for dialogue and engagement. Here acclaimed boylesque performer Lou Henry Hoover explains the complications of performance on the eve of “BASKETCASE,” a collaboration with partner Kitten LaRue.)

“BASKETCASE: AN EASTER EGG-STRAVAGANZA OF PASTEL PERVERSION”
WHAT: Kitten N’ Lou present “gender-bending, rhinestone-encrusted drag, burlesque, and surreal fabulosity” featuring visiting performers Cherdonna Shinatra (Seattle Drag Dance Genius) The One The Only Inga (Atomic Bombshells) Elektra Cute (Minneapolis’ Tesla of Tease) and others.
WHEN: Sunday (April 1), 8 p.m.
WHERE: One Eye Jacks, 615 Toulouse St.
TICKETS: $35 (VIP table seating), $25 (reserved seating), $15 (general admission)
MORE INFO: Visit the Facebook event page

I’m sitting on my porch watching little green sprouts push their way up through plants that I thought for sure were dead from the freeze. Rebirth! Transformation! Growth! These themes are repeating like a prism in this city in this season, and I can’t think of a more perfect way to celebrate than with “BASKETCASE: An Easter Egg-stravaganza of Pastel Perversion.”

Let me tell you why.

I’m a burlesque-ing drag king who was seduced by queer performance art out of a contemporary dance career and then married into New Orleans. My wife, Kitten LaRue, was born and raised in Louisiana and got her start in showbiz in the legendary Shim- Sham Revue at the venue that is now One Eyed Jacks. We are constant collaborators in life and art, Kitten N’ Lou onstage and off.  We both had performance careers before we fell in love, and Kitten was a bit reluctant to collaborate in the early days, with good reason.  Showbiz is an endless roller coaster.  We had our wedding guests sing the Ella Fitzgerald song “It’s Only A Paper Moon” at our wedding, and the lyrics couldn’t ring more true:

Say, it’s only a paper moon
Sailing over a cardboard sea
But it wouldn’t be make-believe
If you believed in me

Being in this business we call show requires an endless well of belief that what you are doing is important, despite whatever personal self doubts might get in the way. I’m still at it over a decade later because live performance has taught me something deep and lasting about generosity. All the costumes, the makeup, the smoke and mirrors, they aren’t there to hide behind. They are tools we get to use to create a little magic, and that magic is special because it is analogue, it is happening in real time and in real space. It’s risky by nature, and to be truly captivating it has to be an act of generosity between performer and audience member. Maybe that performer looks a little bit like you, maybe you feel an affinity with them in that way. Or maybe they don’t at all, but they make you feel something and you feel an affinity with them in that way. And either way you are invited to look at them, listen to them, and drink in a little piece of their story.

We were inspired to create a show to celebrate Easter in New Orleans initially out of a deep love for pastels, Peeps, and the Chris Owens’ Gay Easter parade, but as we write material for our grumpy gay Easter Bunny (played by Seattle’s brillikant Scott Shoemaker, most famous for his touring production of “Ms. PacMan”) and decide what best to wrestle in — Green Jell-O? Lube? (it’s even better; you’ll have to come see) — and choreograph a disco Last Supper, the importance of the actual themes of Easter are resonating with us in a very real way.

Rebirth! Transformation! Growth! Our country, our city and the queer community are all going through all kinds of growing pains right now, too numerous to list here, and drag and burlesque are no exception. The thing I currently get asked about the most in my career is gender in burlesque and performance. It’s a really interesting time to be a woman in the world, and that definitely includes the world of drag and burlesque. As I get older, I see misogyny more and more — not because there’s more, but because I’m learning to recognize something that is so ingrained that it’s hard to even notice all the ways it plays out. Since I was asked, here are a few ways that misogyny has specifically affected my experience as a performer.

It’s the so-called “Golden Age of Drag!” Hooray! I am so happy that more and more people are celebrating and enjoying drag, thanks to the visibility provided by reality TV and the incredible touring opportunities that have resulted. But so far that’s only for drag queens — so the gap between what mostly cis male drag performers (queens) are being paid and the opportunities they have and what mostly woman-identified drag performers (kings) are being paid and the opportunities they have is getting bigger and bigger.

Burlesque has been a primarily women run and dominated art form since it’s revival in the 1990s. Hooray! The burlesque community has been generally very open and accepting of all genders and gender presentations. This has resulted in a subcategory of burlesque called boylesque, which features performers who identify as male or as performing some type of masculinity. Now here’s where things get weird: When we start having these categories, people start defining them, and sometimes that leads to exclusion. Recently a festival put out a call for cis-male-only performers for their boylesque show. As the first drag king and non-cis male to ever win the title of Mr. Exotic World, the Burlesque Hall of Fame’s King of Boylesque, I find that incredibly strange and demeaning. What producer is checking under performer’s cod pieces to make sure their genitals match the application requirements? Winning the crown in this field is still not enough to make up for the fact that my penis is detachable? This kind of policy is not only misogynist, but also homophobic and transphobic.

Kitten N’ Lou: Holier Than Thou is coming to Denver, New Orleans, and Minneapolis this Fall! from Kitten N’ Lou on Vimeo.

I am undeniably a queer artist, I draw that queerness on my face. I use the artifice of drag to reveal this queerness, to express something about gender and my queer identity. But that’s just one piece of the puzzle. Come for the queerness, stay for the show. It’s funny, it’s touching, it’s camp, it’s surprising, it’s got great music and it’s wearing very exciting costumes. I’m an entertainer, I make work that is hopeful in challenging times, and celebrates our humanity. Live performance is very special, a whole room full of humans, sharing an experience that is creative and life affirming — this is an art form to be cherished.

So how do we do that? Make the art you want to see! Go see the art you want to see! Let’s all support artists who bring diversity to the form, and the easiest and most fun way to do that is by going to see them perform. One of my favorite things about New Orleans is that it holds seemingly contradictory truths at the same time. We celebrate while we mourn, beginnings and endings are fluid and seasons are incredibly important. Easter is no exception. “BASKETCASE” not only celebrates rebirth, transformation, and growth, but it also supports some damn good women artists, some damn good queer artists, some damn good POC artists, and some damn good New Orleans artists. Happy Easter, love bunnies!

The year in culture: New Orleans 2016 in review (a curated roundup of news)

Posted on by under year in review

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(NOTE: This round-up will be updated as comments are added, and any notable news is reported, after the end of the year.)

As New Orleans continued to shift into what could be called a “post-post-Katrina” period — that is, moving past the 10-year commemoration of the devastation, or recovery mode — evidence of a new New Orleans culture continued to reverberate all over. Sometimes we see that reflected in trends identified in other cities, like a more diverse (and ever-shifting) restaurant scene, or (more dramatically) the legalization and hopeful regulation of short-term rentals. Then there was, for a variety of reasons, a shrinking of the Hollywood South imprint and its seeming rejection of a film industry in the state. Yet there continued the boundless proliferation of festivals as New Orleans continued to almost manically celebrate itself.

To be sure, the changing face of the city’s culture remained ever changing.

There are those who believe that, with so many of these changes, New Orleans’ unique and often quirky culture might be threatened — that the reasons that make the city so special and so inviting to the rest of the world are shrinking like the Louisiana coastline.

But 2016 also represented a year of amazing and exciting moments that reconfirmed a city’s passion for its cultural life — even when commemorating the lives of famous cultural figures not from New Orleans. Here’s an overview of many of these moments, a (hopefully) carefully curated round-up of stories pulled from several local media outlets (including PopSmart NOLA), as well as national outlets where appropriate.

The year is broken down into categories, with a subjectively chosen lead story followed by links to lots of others. I hope to continue the discussion on “PopSmart NOLA” on WHIV (102.3 FM) on Saturday (3 p.m.-4 p.m.).

What was the biggest cultural moment in New Orleans in 2016 for you? Please add any of your important moments in the comments section.

MUSIC
Irvin Mayfield resigns from the New Orleans Jazz Orchestra (WWL-TV)
“Calling the last months ‘trying and difficult,’ Irvin Mayfield responded for the first time to the 14-month scandal surrounding his use of public library donations by resigning as artistic director and board member at the New Orleans Jazz Orchestra, a nonprofit he founded in 2002.”

ALSO: Beyonce’s “Formation” video, with New Orleans references, is released (Curbed) … New Orleans Airlift’s Music Box finds a permanent home in Bywater (My Spilt Milk) … Trombone Shorty performs at the White House for 50th anniversary of the National Endowment for the Arts (WGNO) … Bayou Country Superfest to relocate to New Orleans in 2017 (NOLA.com | The Times-Picayune) … Skywriting turns heads at Jazz Fest (NOLA.com | The Times-Picayune) … Bayou Boogaloo policy has neighbors feeling fenced in (NOLA.com | The Times-Picayune) … Musicians rally for Lil Queenie (My Spilt Milk) … Michael Cerveris releases “Piety” (PopSmart NOLA) … Lil Wayne makes news (not all of it good) … Fats Domino documentary airs on PBS (New Orleans Advocate) … Boyfriend breaks out (My Spilt Milk) … French Quarter Festivals, Inc.’s Marci Schramm steps down (New Orleans Advocate) … David Kunian takes over as director of New Orleans Jazz Museum (New Orleans Advocate) … Local acts warm up for national acts at Jazz Fest (My Spilt Milk) … Delish Da Goddess breaks out with video (Gambit) … Solange’s “A Seat at the Table” album debuts at No. 1; album’s videos have “stunning power”; Solange pens letter after Orpheum incident; and Solange plays New Orleans tour guide for Vogue … Big Freedia crowned queen of Krewe du Vieux (PopSmart NOLA) … Big Feedia experiences legal trouble (New Orleans Advocate) … and Big Freedia saves the holiday with “A Very Big Freedia Christmass” (NOLA.com | The Times-Picayune) … Tank and the Bangas break out (My Spilt Milk)

FOOD
Shaya wins James Beard Award for Best New Restaurant (NOLA.com | The Times-Picayune)
“Shaya opened in Uptown New Orleans in February 2015. The restaurant, which is co-owned by John Besh, has been a sensation from the get-go. The food pays tribute to chef Shaya’s native Israel. Reservations to taste that food have been unusually hard to come by. Several national food outlets named Shaya among the country’s best new restaurant openings of the year. I gasped over the restaurant in a four-bean review in July. ‘Who woulda thought hummus in New Orleans?’ Shaya said when he accepted his medal. ‘What was everyone thinking?’”

ALSO: Nellie Murray Feast honors Leah Chase, remembers culinary legend (NOLA.com | The Times-Picayune) … Fried Chicken Fest debuts, to move to bigger venue (New Orleans Advocate) … Isaac Toups expands to SoFAB with Toups South (NOLA.com | The Times-Picayune) … Dryades Public Market opens in Central City (Biz New Orleans) … Restaurant Closings: Booty’s (NOLA.com | The Times-Picayune) … Dinner Lab (NOLA.com | The Times-Picayune) … Kyoto (New Orleans Advocate) … O’Henry’s Food & Spirits (NOLA.com | The Times-Picayune) … Tony Angello’s (New Orleans Advocate) … Horinoya (New Orleans Advocate) … and Restaurant Openings: Caribbean Room (NOLA.com | The Times-Picayune) … Dook’s Place (PopSmart NOLA) … Rosedale (NOLA.com | The Times-Picayune) … Wolf ’n’ Swallow (Gambit) … Dunbar’s Creole Cooking (New Orleans Advocate) … Brett Anderson’s top five new restaurants (NOLA.com | The Times-Picayune).

BOOKS
Author Michael Tisserand releases “Krazy: George Herriman, A Life in Black and White” to universal praise (PopSmart NOLA)
“The subtitle is more than a clever pun, for Tisserand reveals the racial subtext of Herriman’s life, which often seeped into his comic-strip hero of the same name; Herriman, an African American, “passed” as a white man. The praise for Tisserand’s book — years in the making — already is overwhelmingly positive on this, its release date (Dec. 6). … “Seamlessly integrating the story of Herriman’s life, he executes an impressive history of early-20th-century race relations, the rise of Hearst and the newspaper boom, and the burgeoning cross-continental society life of New York and Los Angeles,” writes Kirkus Reviews.”

ALSO: Michael Allen Zell releases “Law & Desire” (New Orleans Advocate) … Illustrated edition of Danny Barker memoir “A Life in Jazz” is released, with forward by Gwen Thompkins (NPR) … New Orleans Poetry Festival debuts (WWNO) … Mary Badham appears at Tennessee Williams/New Orleans Literary Festival (Deep South magazine) … Tulane hosts traveling “First Folio! The Book that Gave Us Shakespeare” exhibit; holds second line (NOLA.com | The Times-Picayune) … New Orleans Public Library adds new hours (NOLA.com | The Times-Picayune) … New Orleans Public Library’s new Mid-City location opens on Canal Street (New Orleans Advocate) … Michael Murphy releases “Hear Dat New Orleans: A Guide to the Rich Musical Heritage and Lively Current Scene” (WWNO).

BARS/NIGHTLIFE
Louisiana stripper age-limit law challenged (New Orleans Advocate)
“Three dancers from New Orleans and Baton Rouge filed the suit claiming the state law robs them of their right to express themselves, a violation of the state and federal constitutions. They also said the ban is too broad and discriminates against dancers based on gender and age. Further, the dancers said there’s no evidence the new restrictions will have any impact on human trafficking, even though the state lawmaker who introduced it, Sen. Ronnie Johns, R-Lake Charles, said it was ‘strictly an anti-human trafficking bill.’ All three dancers said the ban would hurt them financially. Two dancers said their income already had been sliced by at least half.”
ALSO: Polly Watts takes Avenue Pub staff to Belgium (PopSmart NOLA) … Bar Openings: Three Keys, Ace Hotel (NOLA.com | The Times-Picayune) … Bar Closings: Bellocq (NOLA.com | The Times-Picayune) … Fox & Hound (NOLA.com | The Times-Picayune).

THEATER/PERFORMANCE
Tyler Perry presents nationally televised “The Passion” live in New Orleans (Deadline)
“Equal parts sermon and Super Bowl halftime show, Fox’s ‘The Passion’ live event from New Orleans tonight was an Easter basket overstuffed with sincerity, good intentions and hammy musical performances, all melting into a big batch of goo faster than a chocolate bunny in the sun.”

ALSO: Faux/Real Fest drastically reduces footprint (NOLA.com | The Times-Picayune) … New Orleans Opera presents “Dead Man Walking” (Louisiana Life) … Richard Mayer closes Old Marquer Theatre (NOLA.com| The Times-Picayune); opens Valiant Theater & Lounge in Arabi (New Orleans Advocate) … InFringe Fest debuts, sort of (NOLA.com | The Times-Picayune) … Theater gets wet: “Waterworld: The Musical” (NOLA.co | The Times-Picayune) and “Exterior. Pool – Night” … Trixie Minx presents “Cupid’s Cabaret” at the Orpheum (PopSmart NOLA) … Transgender artists reclaim their identity (PopSmart NOLA) … Bella Blue voted No. 8 burlesque performer in 21st Century Burlesque poll (PopSmart NOLA) … Le Petit Théâtre celebrates 100 years (Biz New Orleans) … Snake Oil Festival draws huge crowds for burlesque, circus and sideshow performances (PopSmart NOLA).

MOVIES
Hollywood South turns South with tax-credit limitations (New Orleans Advocate)
“Louisiana’s film and television industry — popularly known as Hollywood South because of the large number of movies and shows filmed here over the past decade — has suffered a sharp downturn since mid-2015. Industry officials are blaming a law passed a year ago by the state Legislature and signed into law by Gov. Bobby Jindal — a law that aimed to control ballooning costs for a generous incentive program that independent analysts say has not provided much bang for the buck.”

ALSO: New Orleans Film Society’s Jolene Pinder steps down (NOLA.com | The Times-Picayune) … Deepwater Horizon movie debuts (NOLA.com | The Times-Picayune); so does memorial “ELEVEN” (NOLA.com | The Times-Picayune) … Broad Theater opens in Mid-City (Gambit) … New Orleans’ own Bianca Del Rio stars in “Hurricane Bianca” (PopSmart NOLA) … Architecture and Design Film Festival debuts, sponsored by the Louisiana Architectural Foundation, at Carver and Broad theaters (NOLA.com | The Times-Picayune) … Brad Pitt and Angelina Jolie sell French Quarter house as marriage ends (ET).

ART
Artist Brandan Odums opens StudioBE with new exhibit in Bywater (NOLA.com | The Times-Picayune)
“The powerful installation features mural-scale graffiti-style portraits of Martin Luther King Jr., Coretta Scott King, and Muhammad Ali, plus paintings of victims of police violence, New Orleans’ past political activists, and world peace advocates. The theme of the exhibit bridges the mid-20th-century Civil Rights era and the recent Black Lives Matter movement. The title, Odums said, is meant to imply both change and continuity.”

ALSO: Bob Dylan exhibition opens at New Orleans Museum of Art (NOLA.com | The Times-Picayune) … “La Femme” at New Orleans Arts Center captures diversity of women (New Orleans Advocate) … “Avian Aviators” sculptures dominate Poydras Street (New Orleans Advocate).

CULTURE
City Council approves short-term rental rules (New Orleans Advocate)
“Council members who supported the rules — along with officials from the Landrieu administration and Airbnb — cast the package of regulations as a model for regulating the roughly 5,000 properties in New Orleans now listed on short-term rental sites, despite a longstanding citywide ban on the practice. And, pointing to data the city would require from Airbnb and similar platforms, they argued the new rules would provide a foundation that can be made more or less restrictive if problems develop.”

ALSO: Confederate memorials spur “Take ’Em Down” movement (Curbed) … National World War II Museum commemorates 75th anniversary of Pearl Harbor  (WDSU) … Ellen DeGeneres earns Presidential Medal of Freedom (PopSmart NOLA) … National Museum of African American History and Culture, with New Orleans references, opens in Washington, D.C. (NPR) … Musee Conti wax museum closes (NOLA.com | The Times-Picayune) … One kiss goes viral at Southern Decadence (PopSmart NOLA) … Sinkhole de Mayo becomes a thing (NOLA.com | The Times-Picayune)

SPORTS
NBA moves 2017 All-Star game from Charlotte to New Orleans over HB2 controversy (NOLA.com | The Times-Picayune)
“The NBA … gets a chance to make a powerful political statement by placing its midseason classic in one of America’s most socially progressive cities. New Orleans ranked fourth among American cities with the highest rates of LGBT population, according to a 2015 New York Times study. It ranked as 12th most ‘LGBT-friendly’ city in the U.S, in a study by nerdwallet.com, which based its rankings on statistics from the FBI, Gallup and Human Rights Campaign.”

ALSO: New Orleans Zephyrs renamed as Baby Cakes (Washington Post).

IN MEMORIAM
Musician Pete Fountain remembered (New Orleans Advocate); second line (NOLA.com | The Times-Picayune)
Keith Spera: “In their glory years, he and partner-in-crime Al Hirt lived large, laughed loud and drank a whole lot. But when it came time to toot — at his club, during a Super Bowl halftime show, at the White House, wherever — Fountain inevitably delivered. He could make a clarinet sing with a deep, rich, bluesy tone all his own. Styles may change — in a publicity photo from the 1970s, he rocks a toupee, collars the size of eagle wings, and a scarf — but his sound was timeless.”

ALSO: Musician and restaurateur Edgar “Dooky” Chase Jr. remembered (NOLA.com | The Times-Picayune) … Herb Hardesty, longtime Fats Domino saxophonist (NOLA.com | The Times-Picayune) … Buckwheat Zydeco, music pioneer and Jazz Fest favorite (OffBeat) … Sharon Litwin, arts journalist, promoter, activist (NOLA.com | The Times-Picayune) … Prince remembered through the years, at Jazz Fest, at Essence Fest, and with second line … David Bowie remembered with tributes, second line (Alison Fensterstock/NPR) … Mercedes “Miss Mercy” Stevenson, Big Queen, Wild Tchoupitoulas Mardi Gras Indians, remembered (WWOZ) … Helen Koenig, Carnival costume supplier (NOLA.com | The Times-Picayune).

UPDATE: NOLA.com | The Times-Picayune weighed in with a list of 10 highlights, which included noting that Mardi Gras and Jazz Fest happened again.

What were some of your most memorable cultural moments in 2016? Tell us what is missing in the comments section, and we will add them at the beginning of the year.

Ri Dickulous’ Top 5 inspirations (good and bad) for “Roped In,” an exhibition on binding rope

Posted on by under art

roped-inWHAT: “Roped In: Binding Rope and Art Photography Showcase”
WHEN: Sat. (Sept. 24), 6 p.m.
WHERE: The Art Garage, 2231 St. Claude Ave.
MORE INFO: Visit the Facebook event page

She does sword swallowing and glass art, sure, but, performer Ri Dickulous is bound and determined to expose, educate and entertain people about the often-misunderstood world of all things binding rope. So that’s why we asked her to ponder some of the cultural ties to the form, so to speak, and she responded with an amazing description of the form, and the elements that might help informer “Roped In” exhibition in collaboration with photographer Josh Hailey on Saturday at The Art Garage. (Check out this preview on WGNO’s “News With a Twist.”)

Shibari, taken literally from the Japanese phrase meaning “to tie,” has a long standing tradition within Japanese culture entwined into the erotic arts, more specifically known as kinbaku. Before that, it had been utilized as a method of torture for prisoners and soldiers, known as hojojitsu. Within the past 50 years or so there has been a surge of Western fascination within the art, spurring people who had been playing tie ’em up games as children and turning it into damsel in distress games seen by popular figures such as Bettie Page.

Today we are able to see many applications of Japanese and Western inspired rope bondage, from fashion macrame clothing, to suspensions geared to challenge the mind and body. It seems as if the art form itself is only hindered by the imagination of those that hold the knots in their hands, and so we currently are in the process of a Renaissance of rope bondage.

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Ri Dickulous

Personally, I began my rope journey nearly 10 years ago in the Washington, D.C., area, bottoming predominantly and learning all the while how it would feel to experience different styles of tying, the different types of materials used in tying, and learning basic terminology/names to know/essential ties seen in traditional shibari and Western tying.

Personally I was always drawn to rope bondage because I loved all of the sensory elements of it (sound, sight, smell, feel and occasionally taste) that would be able to focus my attention and bring me immediately into my body with the right rigger. Since moving to New Orleans, I decided that I wanted to tie myself predominantly, and within the past two years began tying others in an effort to translate my knowledge gained over a significant period of time. Josh Hailey approached me about doing a photo series inspired by these sorts of ties, and I agreed with the caveat that each four hour photography session would begin with a half hour lecture on the essentials of being tied up. I insisted on not teaching others how to tie, but what they needed to know in order to stay safe whenever they were tied up.

The result was thousands of images of individuals in beautiful, unique ties, as well as a small community of people who have been tied together into a unique experience focused on education, personal advocacy, generating safety in community, and of course art.

Below are five sources of inspiration that drove me to this project, ranging from “I wanted to inspire people to not do it this way” to “I want people to feel that this style of art of accessible and open to their involvement.”.

“FIFTY SHADES OF GREY” — I grit my teeth whenever anyone mentions “Fifty Shades,” but the fact of the matter is that the subject matter opens up the whole world of BDSM to people who may have previously had preconceived notions of what the BDSM scene is all about. The reaction of the community to this book and movie was astounding, and people who had been living and performing in this lifestyle for years flocked out of the closets and dungeons in order to enlighten the public that “Fifty Shades” is in fact a great example of BAD BDSM practices. Many have heard the songs from The Weeknd, and seen the music video where there is a woman suspended as a chandelier. Not the best example of suspension I’ve ever seen, but it’s super shiny and a great way to begin to explain what sort of things can be seen within this scene other than whips and chains.

“TIED,” BY WYKD DAVE — This video is emblematic of artistic posing seen in much of shibari video art. In performance art, the rigger plays much more of a role, often becoming incorporated into a sort of a dance. This video, however, is a stellar example of technical skill and variation within differing poses. The artist is able to continue her work, with the rope simply adding to her work as opposed to completely taking over her work. I was fortunate, years ago, to attend an intensive hosted by Wykd Dave and learned a great deal of focusing on the basics of tying, especially things like the morphology of knot work, how the lines should lie, and why all of those things are important when overall conveying the desired effect in tying.

FRED KYREL — I cannot tell you how many people refer to this man’s work whenever I mention that I do shibari. This falls into more of the erotic macrame element of shibari and is considered to be very modern, experimental, and Western. The designs are laid on the body so that once they are removed, they can never be replicated exactly the same way ever again. True couture, at its finest.

GARTH KNIGHT — In the more experimental realm of artistic installation and performance art, we see Garth Knight. Well known for his bindings to render his models to look like they have grown into the roots of trees, or the inter bindings of cardiovascular tissues, he continues to be brought up as another artist who is brought up consistently to me as a jaw-dropping rope artist.

KINOKO HAJIME — Finally, blending traditional and experimental Japanese rope art is Kinoko Hajime. I feel bad to include him last within this five-part pop series, but I figured that I would approach this topic from how a Westernized American may be approaching Japanese rope bondage. First, “Fifty Shades,” then music videos, then what would you get if you did a simple Google search for rope bondage. Kinoko Hajime is a contemporary artist who certainly deserves mention within this field, as he is one of the driving forces for innovating the current rope Renaissance, along with other artists such as Akira Naka. Kinoko’s work focuses on red rope of different sizes and different purposes, giving it a very visceral feel to every one of his images and blends the traditional with the innovative seamlessly. Even if you haven’t seen his work before, you should take a look and get an idea of what sort of images can be created while blending the old styles with the new.

The Reverend Pastor Father Brother Ben Wisdom explains his spiritual path

Posted on by under burlesque

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WHAT: Brother Nutria
WHEN: Tues. (Sept. 20), 6:30 p.m.
WHERE: Hi-Ho Lounge

With his work as a producer and host for the Snake Oil Festival and Slow Burn Burlesque along with emceeing Bella Blue’s Dirty Dime Peepshow, Ben Wisdom has carved out his niche as the fallen preacher man who has succumbed to, revels in and even peddles the sins of the flesh. It’s as if Jimmy Swaggart had decided to stay on Airline Drive. It’s something into which he’s evolved over the years, and when he’s at the top of his game he’s one of the funniest comedians in New Orleans. He’s even become a radio host with his show “The Ministry of Misbehavin’” on 102.3 FM WHIV and WHIVfm.org, Tuesdays from 9 p.m. to 11 p.m. But there is a context to his conversion, and he was gracious enough to share his journey with us as his band, Brother Nutria, prepares for its gig on Sept. 20 at the Hi-Ho Lounge.

I have a pretty interesting and fun life. I’m a burlesque emcee and show producer in New Orleans, Louisiana. I love “the city that care forgot” as well as a healthy dose of downright debauchery, so burlesque in the town I love is a good fit for me. However, I haven’t always been down with the “ways of the devil,” or the promiscuity of the Crescent City. In a different life I was a devout follower of Pentecostal Christianity. I was baptized three times. I spoke in tongues. I even, for a brief time, considered becoming a preacher.

Oh, how the mighty have fallen, I guess? My going from devout holy roller to filthy burlesque emcee was a long journey, and as you can probably guess, my relationship with religion is now and really always has been complicated. And, that’s why I can’t seem to get it out of my act. I’m known for some of my, I guess you would call them catch phrases — “amen and amen again,” and “hallelujah and hallelujah to ya.”

I often incorporate religious themes into my performance, and I even have a character, The Rev. Pastor Father Brother Ben Wisdom, that is a full-on, bent, Pentecostal preacher who extolls the virtue of having no virtue. This character was first born at a Slow Burn Burlesque show called, “Jesus’ Big Birthday Bash” — it was our twisted version of a Christmas show). I further developed the character in a show I co-produce with my partner and co-creator, Little Luna, called the “Unholy Roller Revival,” which is a mock tent revival that we have put on every year at the variety arts festival that we also produce, called Snake Oil Festival. I use the Preacher character as a lens to hold up to what I consider to be the inconsistencies and hypocrisies of the people who use Christianity to rule us.

And, now, the preacher character is going through another evolution. A year ago, I joined a group of great guys (MarkAlain Dery, Nate Pendergast and Kit Keen) here in New Orleans, and we formed the band, Brother Nutria. We all share in the songwriting duties, but I probably write two-thirds of the lyrics, and as you might have guessed those lyrics are full of thoughts questioning the world view as seen through the eye of so-called modern Christian America. We have song titles like “Gospel Billy Preacher,” “Ready to Sin” and “Holy Ghost Drone Strike.” In the latter, we sing, “We’re all good people. We’re all sanctified. And, when it comes to Christian white folks, his love is double wide.”

ben-smokeI was introduced to religion at a young age. My father was raised in a conservative Catholic household in New Orleans. My mother was raised in non-denominational, full gospel churches is Forth Worth, Texas. As young adults and parents, mine weren’t super religious, despite their upbringings. Before I was about 9 or 10, I don’t remember going to church that much except for with my grandparents. However, my most vivid early memory is from when I was somewhere around 4 or 5 years old. It is a memory of my parents allowing me to attend the Pentecostal tent revival being put on by two of my Dad’s friends, who were former drug addicts turned holy-rolling missionaries. Their son was the same age, as me and we were fast friends. I can recall the sites and sounds of that night. We were in some field in or around Vidalia, La., which is right next to Ferriday, the hometown of Jimmy Swaggart and Jerry Lee Lewis, which is where we also lived. In the field they had set up trailers for the ministers and singers. There was a humble stage at the center of it all. That stage was equipped with some ancient PA system that amplified each of the speakers and singers to the point of over-modulation. It was all lit in the dark night by blinding construction lights of some kind.

There was a smell of boiled peanuts in the air.

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More cool Southern Decadence events that didn’t make the Advocate story

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While the New Orleans Advocate ran my perfectly adequate round-up of familiar and offbeat events for the 45th annual Southern Decadence weekend, there’s sooo much more that could’ve gotten in there.

That said, here’s that more part, including some really offbeat stuff:

Decadence ExtravaGAYnza featuring Violet Chachki
Fri. (Sept. 2)
Masquerade, Harrah’s New Orleans Casino
No cover
That Advocate roundup includes Atlanta drag queen Violet Chachki’s appearance at Bella Blue’s New Orleans School of Burlesque, but there are key omissions, including her appearance on Saturday at Bella’s “Dirty Dime Peepshow” Saturday night (Sept. 3) as well as this fun Decadence-themed show. So the Season 7 winner of “RuPaul’s Drag Race” has a chance to own the evening on this one. More acts will perform as well.

“Glitter Tits Is a Drag: Southern Decadence Addition”
Sat. (Sept. 3), 10 p.m.
Sidney’s Saloon
$5 cover “(with drag/androg/glitter/costume/weird)”
$10 cover (“basic”)
You should go to this party that’s moved over from the Voodoo Lounge if for no other reason the creators make the weirdest-ass videos in the New Orleans social-media world (and that’s saying something). But yes, as one can glean from the dress-code possibilities, this party is about as genre- and gender-bending as Decadence gets (although “CREAM” is in the ballpark, too). Music will be provided by DJ Rusty Lazer and DJ Nice Rack. (Pro tip: Bring and/or wear glitter, because you are probably going to be wearing it by the end of the evening anyway, one way or another.)

“Horse Meat Disco”
Sat. (Sept. 3), 10 p.m.
Ace Hotel
$20
The folks at Club A present the New Orleans debut of popular British disco party DJs with a mix of “underground disco, Italo and rarities that have been rocking crowds from their base in Vauxhall, London, to dance floors worldwide since 2009.”

Am I missing something? (Or at least something that’s at a club not already listed in the Advocate story — for fairness?) Holler at me at dlsnola@gmail.com and I’ll add to the roundup.

BONUS CONTENT FOR BONUS CONTENT — Check out the trailer for the pilot of “Atlanta’s a Drag,” starring Violet Chachki.

Xena Zeit-Geist’s Top 5 Miyazaki films, in advance of “Howl’s Twirling Tassels”

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(Photo by Jerome Gacula)

“Howl’s Twirling Tassels: A Burlesque Revue Celebrating Hayao Miyazaki,” featuring Xena Zeit-Gest, Grand Mafun, Sarah Duprix, Remy Dee, Dane Baxter, Loretta Dean and Miss Margery
WHEN: Fri. (Aug. 12), 9 p.m. & midnight
WHERE: Eiffel Society (2040 St. Charles Ave.)
TICKETS: $10 general admission, $20 VIP
MORE: Visit Facebook event page

The Society of Sin long has trafficked in pop-culture homage that taps into such familiar territory as comic books (“Arkham ASSylum: A Batman Burlesque Play”) and TV game shows (“The Vice Is Right”). But with “Howl’s Twirling Tassels,” this nerdlesque troupe explores pop culture in a very different, and potentially more vivid, way in its tribute to Hayao Miyazaki. The legendary Japanese anime director and his Studio Ghibli crafted critically acclaimed movies for decades before stunning American audiences with the 2001 release of “Spirited Away” — which won an Academy Award for Best Animated Feature and helped audiences take a second look at previous releases such as “Princess Mononoke” and preceded the 2004 Academy Award-nominated “Howl’s Moving Castle.”

Miyazaki’s films work against many of the narrative and visual styles to which American audiences are generally accustomed to, unafraid to explore dark, even adult themes with fluid, sometimes languid rhythms and pulsating images. They often feature strong female protagonists, one of many reasons they are a fitting inspiration for The Society of Sin. On the eve of Friday’s performance, producer-performer Xena Zeit-Geist offers her five favorite Miyazaki films.

“Princess Mononoke” (1997) — “Princess Mononoke” was the first of Hayao Miyazaki’s films that I ever saw, so it will always hold the most special place in my heart. I remember picking it out from the video rental store during a weekend with my dad because of the wolf on the cover (I was obsessed with dogs and wolves as a child) and immediately being hooked. Rewatching the movie as an adult, the moral ambiguity of the film continues to fascinate me. I love stories where there’s a clear conflict but it’s not cut-and-dry good vs. evil, like the San vs. Eboshi conflict in “Princess Mononoke.” Lady Eboshi is the antagonist of the story, but she’s an incredibly strong, inspirational leader who does what she feels is best for mankind, no matter the stakes, and Ashitaka clearly has a lot of respect for her. She’s the first female character that I remember seeing portrayed as a benevolent, competent ruler in a children’s movie and one of the first “villains” who wasn’t straight-up evil. From the first time that I saw the film, I admired Lady Eboshi, even though I ultimately sided with San. At the time that I first watched “Princess Mononoke,” I strongly preferred the company of animals to the company of humans and was really banking on finding out I was an Anamorph (or at least realizing my ability to converse with animals like Eliza Thornberry) before I got too old so that I could go live in the wild and not deal with people anymore. I may have related to San’s anti-human self-loathing on a deeper level than most of my peers at the time. (Side note: I’m still secretly sort of upset that I still have no idea what my cat is saying the majority of the time.)

“Howl’s Moving Castle” (2004) — I read an interview of Hayao Miyazaki where he actually named Howl’s Moving Castle as his favorite of his creations, and I think that this is where his passion for filmmaking really shines. Miyazaki was open about his rage over the war in Iraq, which partially inspired the pacifist themes of “Howl’s Moving Castle,” but his strong opinions never come off as heavy-handed or preachy; it’s even easy to get swept up in the sweet, whimsical side of the plot. However, the film still manages to tackle a plethora of complex issues — depicting the atrocities of war, championing the message that life is worth living at any age, and, once again, illustrating that sometimes conflicts are more complex than good vs. evil and that even those who might be considered villains are capable of positive change, introspection and personal growth. Plus, there just really aren’t enough movies with badass little old ladies as lead characters, and Miyazaki’s portrayal of Sophie makes getting old seem pretty awesome.

“My Neighbor Totoro” (1988) — “My Neighbor Totoro” is one of the strangest, most imaginative stories I know of, and therefore one of my favorites. From the soot sprites, to the cat bus, to Totoro himself, Miyazaki creates a cast of fantastical, yet somehow oddly believable, characters in this heartwarming adventure. The cat bus is probably my favorite thing about the movie. I just rewatched this one with my roommates, who’d never seen it before, and it was getting to the part where Mei and Satsuki are waiting at the bus stop with Totoro, and then it’s Cat Bus that rolls up — such a strange and pleasantly unexpected creature. We all just laughed and marveled at the strange way that she moves with her little caterpillar legs. (I always imagine that the cat bus is a lady, even though I don’t think that cat buses actually abide by the gender binary.) When Loretta Dean mentioned wanting to do a Cat Bus-themed burlesque act, I was over the moon with anticipation! I believe the soot sprites will make an appearance, as well, and am told that her act will contain some audience interaction.

“Spirited Away” (2001) — As a kid who obsessed over books and movies like “Alice In Wonderland” and “The Wonderful Wizard of Oz,” I was absolutely smitten the first time I saw “Spirited Away.” Another masterpiece in imaginative storytelling, “Spirited Away” immediately swept me up in its dazzling and dark fairytale world. Like the strange, fantastical creatures in “My Neighbor Totoro,” the inhabitants of the film’s spirit world fascinated me to the point that I’d find myself my own versions of No-Face monsters and pig people and thinking of little backstories for them. It’s also an excellent examination of the effects of capitalism and consumerism; once again, Studio Ghibli manages to explore extremely complex, grown-up themes in a film made to appeal to young people without sacrificing story or watering anything down.

“Kiki’s Delivery Service” (1989) — While some might argue that “Kiki’s Delivery Service” in some ways lacks the complex conflict and fantastical drama the makes so many of Miyazaki’s other films remarkable, it’s an endearing film with a lot of heart and one of my favorites. The film centers on a 13-year-old witch-in-training who’s transitioning into adulthood and getting her bearings as a practitioner of magic. Unlike so many Studio Ghibli films, “Kiki’s Delivery Service” does not delve into a morally ambiguous conflict between external forces but instead makes an antagonist out of the title character’s own self-doubt. In the film, Miyazaki does an expert job telling the story of a compassionate, resilient young woman who learns the value and power of her own vulnerability. This will always be one of my favorite movies to re-watch as someone who regularly battles villains such as “Imposter Syndrome” and fear of failure (as so many artists do). Kiki teaches one of the most important lessons someone interested in harnessing the magic inside them can learn: To be the best witch you can be, you have to find a reason to get right back on your broom, even after a big fall, even when no one understands (not even your cat), even when you’re not totally sure that you can fly. This is the only way to experience true triumph.

Trixie Minx at Jazz Ascona: Time tripping with the Treme Brass Band (Field Trip)

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As part of our “Field Trip” series, New Orleans burlesque producer and performer Trixie Minx continues her travelogue at Switzerland’s Jazz Ascona, which features a celebration of New Orleans music that includes the Treme Brass Band, Tom McDermott, Aurora Nealand, Glen David Andrews, Shamarr Allen, Topsy Chapman, Anais St. John, Lillian Boutté and Shannon Powell. Here she checks in at the midway point.

The other day I realized I had been in Switzerland for exactly one week, marking the mid-point of the Jazz Ascona Festival. It was a strange realization, because ever since I got to the festival time hasn’t been used as a unit of measurement so much as a pleasant reminder to see or work with another musician. It is difficult to describe but so clear to everyone that is here that Jazz Ascona is not merely a music festival but a music experience.

My days and nights have blurred together into a single thread of artistic and very human consciousness. When I first arrived I had a very grand plan of waking up early, working on projects with my friends, seeing the sights and then performing all night. I love the calm of a scheduled routine, but the environment of the festival led me to relax my “plan” and truly live the experience I am so lucky to be in. So my typical yet not scheduled day starts by waking up early to the sound of church bells (which are on every corner; seriously, it’s like Starbucks) since they hate the idea of me sleeping in. In a zombie-like state, I leave my room in search of coffee. This is where my adventures begin… .

I’m half a block from the piazza, which is the main street on the lake and the location of most of the stages for the festival. I’ve taken dozens of pictures of the piazza, but photos don’t seem to capture the unimaginable beauty of this view. The street is lined with little cafes dotted with brightly colored, umbrella-covered tables looking out on to a lake swirled with crystal clear blue and green water. Swans gently glide by, and in the distance the snow-tipped Alps are as far as the eye can see. I joke that it is like “The Truman Show” because it truly looks to heavenly to be real.

On this beautiful street, I run into different musicians each day. They are either drinking coffee at a cafe, smoking under the shade of a tree, playing music on their balcony or even stumbling home from the night before. I’m very fortunate to have worked with most of these artists for years in New Orleans, but we very rarely get to hang outside of a gig; however in Ascona we have this unique bubble where we can both work and hang. Of course we go see shows, castles, waterfalls and mountains, but my favorite part continues to be the conversations we have with one another.

My evening starts around 8 p.m. parading with the Treme Brass Band. As the only burlesque lady dancing through the streets in sparkly drawers amongst a festival that is primarily made up of musicians and people who love jazz, I bring a little extra NOLA magic to the mix in my role as an ambassador. The crowds truly love music and New Orleans, so marching down the cobblestone streets each night with Treme is more than just a “gig” but truly an honor to be sharing what we do locally on an international level. Afterwards the guys and I get drinks, eat dinner and see more music. After all the stage shows, everyone meets up at the late-night jam session.

These jam sessions are perhaps one of the strongest defining points of Jazz Ascona. While each artist is amazing at their craft and kills it on their individual stage sets, at the jam session you have an incredible mix of all the artists playing together. It’s a very interesting game of musical chairs where people are continuously jumping on/off the stage to play the next song. I even got to get in the mix on bass for a couple tunes and did a pop-up burlesque performance as well.

With music in the air, booze in most everyone and an electric energy of happiness, the night fades into morning, and the process is all repeated again.

As I said earlier, time has not been a unit of measurement but a pleasant reminder of music each day. So while I am halfway through my “time” at Jazz Ascona, I’m not counting the minutes but loving all the moments, a concept I hope to bring back with me.

 

Bunny Love’s top 5 (or so) influences to prep for “The Killing of a Lesbian Bookie”

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Killing of a Lesbian Bookie

Bunny Love as Triple Lexxx. (Photo by Edward Simon)

WHAT: “The Killing of a Lesbian Bookie,” written and directed by Jim Fitzmorris and starring Bunny Love, Justin Welborn and Kimberly Kaye
WHEN: Thursday-Saturday (June 30-July 2), 8 p.m.; Sunday (July 3), 6 p.m.
WHERE: The Theatre at St. Claude, 2240 St. Claude Ave.
TICKETS: $25
MORE INFO: Click here

To say that Bunny Love is a woman under the influence in Jim Fitzmorris’ “The Killing of a Lesbian Bookie,” which concludes its two-weekend run starting Thursday (July 30) at The Theatre at St. Claude, would be a massive understatement. Like the playwright himself, Bunny Love brings myriad influences to a story whose title is lifted from director John Cassavetes’ arthouse noir classic. (I noted as much in my review of the playI noted as much in my review of the play.) To get a sense of this, and how Bunny Love tapped into her own vast background as a burlesque performer, I asked her to share those influences.

“Dracula” was the first play I had done in a while and my introduction to the New Orleans theater scene after moving back here from New York City in 2014. We performed the last two weekends in October — perfect for Halloween. It was a short, intense rehearsal, as I have now learned, the only kind of (Jim) Fitmorris rehearsal. I was thrilled to be doing a play and even more thrilled to be working with Matthew Mickal, Joel Derby, Kimberly Kaye, Trey Lagan and Jim Fitzmorris. I fell madly in love with everyone involved! I’d been hit by a car on Oct. 8 while riding my bike in Audubon Park and broke my left wrist in three pieces. I could have felt sorry for myself and gotten depressed, but this show, with these people, saved me from that. At the end of our run, Jim had a light-bulb moment and realized Kimberly Kaye and I were the two actresses he’d been seeking for his play “The Killing of a Lesbian Bookie,” a play he’d written in early 2013. He’d always had his college buddy, L.A.-based actor Justin Welborn, in mind to play Irish, but couldn’t find the right fit for the two female characters: Triple Lexxx, the burlesque star about to open her own club, and Bookie, her wise-rackin’ “Fake-O tough guy” girlfriend. When I took Jim’s script home and read it, it was like he’d written it for me! I was a little freaked out. Justin and Kimberly (who was living in New York City, but recently moved here) were able to come to New Orleans in November for a reading. Sparks were flying from that first table work. We were titillated with excitement. We decided we would do the show in June. Justin arrived on the night of the 13th, and we went to work. Long, intense, eight-to-nine-hour rehearsals with people I love and admire is pure joy for me! We opened the show on the 23rd. It all came together with “hard work and hustle,” and a lot of theatrical magic. The show is a blast — three damaged human beings looking for redemption, spitfire dialogue, and a twisting plot that will literally keep you on the edge of your seat. I did some very specific work to prepare for this play. Here are some of my inspirations.

John Cassavetes — Filmmaker, actor and just my type of man, intensely sexy and infinitely cool. Like my character, Triple Lexxx, I “love all Cassavetes.” After our initial table work, I had a Cassavetes move marathon. I spent days watching everything: “The Killing of a Chinese Bookie,” “Shadows,” “Faces,” “Husbands,” “Minnie and Moskowitz, “A Woman Under the Influence,” “Gloria,” and “Big Trouble.” I think I missed one or two. Falling in love again with the man and his movies, his “gritty American realism,” and how it related to “The Killing of a Lesbian Bookie.” Cassavetes presented difficult, flawed characters in disturbing situations delivering clever dialogue one might hear at a cocktail party gone wrong. It was helpful to steep myself in that world. There is a particular feeling in all of Cassavetes’ work, and that feeling is there in “The Killing of a Lesbian Bookie.” Irish, Lexxx and Bookie, all with their faults and dark secrets in a frightfully tense situation with crisp dialogue that sometimes erupts into shouting. I never met Cassavetes, but I did have a “next best thing” moment when I met Ben Gazzara at a film festival in New York City and had a mini-makeout session as I was putting him into a cab at the end of the night. Yum!

All the movies mentioned in “The Killing of a Lesbian Bookie” (in addition to Cassavetes) — “The Friends of Eddie Coyle,” “The Town,” “Frankenstein,” “The Godfather,” “Guys and Dolls,” “Chinatown” and “The Count of Monte Cristo.” I needed to understand the references to these movies, but I also found a love and appreciation for these beautifully constructed films, most of which I would have thought aren’t really my thing, but found myself riveted. Like Irish and Lexxx, I also love movies, and it was just great to be reminded of that. These films are also full of characters, situations and dialogue that related to life and informs “The Killing of a Lesbian Bookie.”

Barbara Stanwick (specifically in “Baby Face”) — this is a wonderful character study of a woman who knows how to use what her momma and daddy gave her to get what she wants. It’s super racy for 1933! She is always in control of herself and her situation — well, until the tragic end. I tried to take on that strength and control. I even stole a few facial expressions and gestures. She’s a woman on her way to the top. She knows what she wants and she will do whatever it takes to get it. She’s scrappy and comes from the wrong side of the tracks, but has groomed herself to hide all that. Triple Lexxx is also all of those things.

Lauren Bacall (specifically in “The Big Sleep”) — She is know for her cool demeanor and unflappable poise. I think Lexxx made a study of her and wanted to be that cool. I studied her posture and her stillness; she hardly ever moves her shoulders. It’s incredible and so powerful, and her hands, her beautiful hands! Another piece of candy from this movie was the way she and Bogart flirted, the cat and mouse, the wordplay. They are the best. We strive for something like that in our play. Finally, it was the love between Bogart and Bacall. You could feel her love for him. I wanted that for Lexxx: a true love. I want the audience to see that in my eyes.

My own life and various burlesque performers, strippers and sex workers I am friends with or have known — One of the first things you do as an actor is look for the connective tissue between yourself and the character. Luckily, I had so much to draw on, not that it’s the same, but that it’s relatable or easily substituted. Of course, there’s my long career in burlesque, but I had also fantasized about opening a burlesque club here, before I moved back, so I already knew what it looked like. I also used pieces of women I know, their lives, their personalities. So many influences, both good and bad, but I don’t want to incriminate anyone so I’ll just give you a few examples: From my BFF, my wife, Bambi the Mermaid, I used her incredible ability to manifest exactly what she wants in life. From Julie Atlas Muz, I got her Detroit toughness. Julie is a lovely, sweet person, but definitely the lady who can take care of herself. From Dirty Martini, I borrowed her undying passion and pure love for burlesque, performing and entertaining.

Snake Oil Festival closes out with the “Unholy Roller Revival” Sunday (photos)

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A crowd of about 200 enjoyed the third and final night of the second annual Snake Oil Festival on Sunday (June 26) with the “Unholy Roller Revival” hosted by co-producer the Rev. Ben Wisdom, with Dr. Sick and the Asylum Chorus providing a mesmerizing soundtrack for New Orleans and visiting national and international performers.

I’ll have more fleshed-out thoughts on the evening once I nail down some details, but wanted to share this photo gallery (with a quick video) to give you an idea of how much fun the night was — a hellfire-and-brimstone celebration of dance, music and flight. And while the local performers showcased New Orleans’ burlesque and sideshow talent, arguably the most intriguing performance came from an out-of-towner — sort of. Lune Noirr, an Asheville, N.C.-based performer who reportedly will soon set up shot in New Orleans, gave a brilliant dance performance in a costume as kinetic (and timely) as one could see at the show.

Other performers: New Orleans’ Ember Blaize, Tsarina Hellfire and Queenie O’Hart, as well as Kitson Sass (Minnesota), Mariposa Bop (London), Mena Domina (Santa Fe, N.M.) and Miranda Tempest (Toronto).

The Snake Oil Festival was produced by the Rev. Ben Wisdom and Little Luna and featured about 70 performers over three nights showcasing burlesque, circus arts and circus sideshow acts, with workshops held during the day. Check out my preview in the New Orleans Advocate, as well as a mini-review from 2015.

Again, more to come soon.

With “The Killing of a Lesbian Bookie,” Jim Fitzmorris plays all of his angles

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Photo by Edward Simon

WHAT: “The Killing of a Lesbian Bookie,” written and directed by Jim Fitzmorris and starring Bunny Love, Justin Welborn and Kimberly Kaye
WHEN: 6 p.m. Sunday (June 26); Thursday-Sunday (June 30-July 3)
WHERE: The Theatre at St. Claude, 2240 St. Claude Ave.
TICKETS: $25
MORE INFO: Click here

Jim Fitzmorris wears his influences on his sleeve. Or, in the case of “The Killing of a Lesbian Bookie,” on his plays’ title, and on the spare stage of his latest work that opened this weekend at his Theatre at St. Claude. Movie posters of “The Friends of Eddie Coyle” and rows of DVDs from The Criterion Collection fill the stage and prompt snippets of dialogue from the characters, but clearly they’re laid bare as if transported from Fitzmorris’ home, or brain.

So when smooth-talking and wise-cracking beverage vendor (Justin Welborn) shows up on the soft opening of a nightclub venture and starts flirting with the co-owner and featured performer (Bunny Love), their shared of love of ’70s crime films by Cassavetes, Polanski and Coppola, the audience immediately knows that this is Fitzmorris at his most reverential and referential. But almost as immediately, as a flirtation turns to threats and then into terror and then into intrigue and possibly back again, the audience also recognizes another Fitzmorris passion: complexity. It’s the complexity of motivations, of desire and even of language that often motors Fitzmorris’s works, and while they’re often challenging to follow, they’re always worth the ride.

“The Killing of a Lesbian Bookie” is an uptempo and bumpy ride in which allegiances switch with every “reveal,” a popular word in a show and with burlesque undertones. (Fitzmorris, also a frequent chronicler of New Orleans’ burlesque scene, knows this as well as he does movies.) As the co-owner of the Triple Lexxx club, Bunny Love can practically live the role, having performed for several years in New York City’s gritty neo-burlesque scene. She returned to New Orleans a couple years ago, bringing her New York sensibilities to shows such as Bella Blue’s “Dirty Dime Peepshow” while increasingly elevating her theater profile. So when she recounts a seedy story of life as a stripper, as with Fitzmorris you almost want to believe it comes from her own experiences. But you can’t dwindle on the thought for very long in this 70-minute one-act play. The action’s too fast.

The play starts off with Lexxxi ready to open her nightclub, for which she’s scrimped and saved to open and make her meal ticket after years in the business, with the help of her lover (played by a twitching Kimberly Kaye). Those plans are compromised by the appearance of Irish, who presents himself as the beverage supplier for the club, and the two strike up a conversation that goes beyond business.

It’s just when Irish senses Lexxxi’s loyalty to her partner has its own motivations that he reveals (at least one of) his own after a frantic phone call from her partner, a part-time bookie who warns Lexxxi that Irish has come to kill her. Hanging up the phone, Lexxxi can only keep her poker face for so long before Irish explains his presence:“Bookie” owes debtors for huge gambling losses built on Lexxxi’s money. But he tries to calm her down with the slightly reassuring thought: “I’m the second-to-the-last person you want to see. … In politics and crime, there’s always a second-to-the-last-guy.” Lexxxi, twisting around their previous flirting, responds, “You watch too many movies … so you’re Tom Hagen (of ‘The Godfather’ fame)?”

Irish offers a proposal — more a less-worse option — in which Lexxxi signs the club over to him so he can gain control of it (and Lexxxi) to help pay off the debt as long as Bookie disappears.

A tight cast makes great work of a tight though sometimes dense script, with Justin Welborn (FX’s “Justified”) bringing a pitch-perfect mix of cynicism, swagger and a sliver of vulnerability to his role. He could either try to dominate the stage as the lone male character or get lost in a lover’s quarrel, but he does neither, and it’s a neat trick. It is only fitting that his character once was an aspiring movie mogul, playing on Welborn’s own movie experience. And Kaye’s nervous intensity crackles throughout the show, even at times drawing in the audience’s sympathy with her own vulnerability. Through her desperation we still see another soul trying hard, like the others, not to be lost. If they all need a few moments in the early going to get their footing with the script, they all hit their stride quickly enough.

They do this just in time for a cleverly conceived passage in which exposition is revealed in a three-way dialogue between them, told partly in present time and also in flashback, with each character alternating in filling in the holes. It’s all wordplay as gunplay, of which there’s plenty already.

So much about “The Killing of a Lesbian Bookie” is about control, which makes it that much more interesting when Lexxxi explains why she favors burlesque over stripping: “Because it gives the illusion that the audience is in control … the only decisions are mine.” Once every character has explained their angle in this love triangle, it’s Lexxxi’s call.

Jim Fitzmorris bills the play as his first full-length piece since “A Truckload of Ink,” which he followed up with such works as his brilliant manifesto-monologue, “Be a New Orleanian.” He’s found a home for his works at The Theatre at St. Claude, with an intimate space that David Raphel makes great use of in his set design. Su Gonzcy works the lighting deftly in what amounts to two adjoining rooms, and Dana Marie Embree’s costumes blur the lines between the ’70s and the present day.

And yet, watching this compressed treat, I can’t help but wonder if “The Killing of a Lesbian Bookie” could be something a little grander — like, say, a burlesque musical where Lexxxi’s dreams of a fabulous nightclub come to life, with music and dance numbers as eloquent as Fitzmorris’ rapid-fire dialogues and monologues. That’s not so much a criticism as a wish. This work is already more fully realized in narrative structure and prose than its casual inspiration, John Cassavetes’ 1976 arthouse noir, “The Killing of a Chinese Bookie.” As good as this play is, you sense the possibilities of something even grander.

I guess that’s the point of burlesque: Always leave the audience wanting more.