Stage

The mere mention of the word burlesque and a virtual Pandora’s box pops open. Originally, burlesque was an exaggerated spoof on classic theatre pieces — a Spamalot of sorts. The thing that makes burlesque unique is the added stripping element. Not the stuff of mirror-walled clubs with brass poles frequented by bachelor parties, burlesque ‘tease’ is slow and seductive and never goes further than ending in pasties and lingerie.

This kind of theatrical parody began as far back as 16th century Italy. It became a popular form of entertainment juxtaposing serious and comic elements throughout Europe in the 18th century.

Thanks to Lydia Thompson and her British Blondes, burlesque found its way to the US in the 1860s. In the 20s and 30s, the risqué variety shows were called Follies. Then, performers like Gypsy Rose Lee combined both wit and strip. In the 40s and 50s, they were known as Girlie Shows, and even got booted out of NY for their bad-mannered behavior. Dixie Evans, the ‘Marilyn Monroe of burlesque’ and curator of the Burlesque Hall of Fame performed then. Eventually the teasing, minus the drama, worked its way into modern strip clubs.

While it may have veered off the classy track, the neoburlesque movement of the 90s sought to bring back burlesque sophistication. Ami Goodheart's Dutch Weismanns' Follies revue in NY and Michelle Carr's Velvet Hammer burlesque troupe in LA arose out of nostalgia for the glamorous past. They reinstated small format theatre performances that combine acting and striptease. Dubbed by the press the ‘Queen’ of this movement, Dita Von Teese emerged with unique character-driven shows — even going en pointe. Slowly, the suggestive stage style returned to from where it came, exploding on the London scene a few years ago.

So, why is neo-burlesque on the rise in Barcelona now? Everyone has his or her own opinion. Mistress Basia, well-known dominatrix and tattoo salon owner, as well as one-half of the Barcelona burlesque duo the Chili Cats attributes it to Barcelona “perpetually lagging behind the rest.” Her burlesque partner in crime, Dirty-boop claims, “Stripping has become overdone. People are tired and want something different. They’re looking for something that is beautiful and celebrates women.” The current crisis also makes for the increasing popularity as people go to escape the droning credit crunch talk. 

The first Spanish burlesque performer to appear on the scene was another Von – added for additional German cabaret elegance – Vinila Von Bismark. The leadsinger of Krakovia – this tattooed pinup – added burlesque to her repertoire, when most Spaniards hadn’t a clue what it was. “About a year ago, Vinila was in Barcelona doing a show. It was incredible. After, the people said ‘Damn, this is different’,” remembers Mistress Basia. In her shows, which have a 40s or 50s air, she slinks around the stage seductively peeling off her layers in a cute and comically choreographed way.

While Vinila sparked interest, finding information and practicing this art was a challenge to budding burlesquers in Barcelona. Many had to get an education abroad.

Born in Barcelona on the same day as American porn star turned mainstream actress, Traci Lords – something she points out on her Myspace page – Evita Mansfield is part of this burgeoning burlesque crowd. She started as a go-go dancer and making costumes for her drag queen cousin. While go-go dancing is something different altogether, it did help Evita get over her stage fright.

“I wanted to do something more than just dance. I wanted to act, too. The problem though was the lack of this kind of performance here,” describes Evita of the transition from go-go to burlesque. So, she hopped online and did some research. Although she points out, “there is little offered in Spanish.” She made contacts with international acts, went to London and brought back what she learned.

One online community many European talents turn to for guidance is the Ministry of Burlesque. Started in Glasgow, it has forums and info on burlesque classes, events, shops — everything but the girl. Through the website aspiring artists can get tips on dying hair platinum blonde and even advice on handling the disapproval of family members.

Negative family feedback is a big challenge new burlesque acts face. In particular, Evita Mansfield mentioned that her mother still hasn’t seen her act. “It’s mainly because she doesn’t understand what it is, and I don’t want her to get the wrong idea. In many shows different styles from grotesque burlesque acts to tamer ones are lumped together.”

Since burlesque is still new to Barcelona, the majority of shows have several individual mini-performances that are part of larger themed rock or hotrod parties. “Right now there are a lot of parties. However, it’s nothing like the dressed up, solely burlesque shows of London,” says Evita. The Chili Cats echo this feeling, adding that these parties are usually thrown together haphazardly. Hoping to change that Sala Apolo’s starting a monthly burlesque-only bash, Taboo, in April.

Bibian Blue, the popular Catalan designer of exclusive, handmade corsets for females and males, also set up an exclusively burlesque event last January. She beckoned back the time of glamour for the event in puti-club turned classy act, Lotus. Bibian got a group of up-and-coming talents including Evita Mansfield and the Chili Cats together to perform.

Since Bibian has been a part of this world for quite some time, the production she put on was impeccable. Although it was a success in many ways, it did pass a bit under the BCN radar. Again, it passed relatively unnoticed due to people’s unfamiliarity with the performance genre.

The problem is that few are familiar with burlesque, let alone the revival known as neo-burlesque. There are misconceptions that it is just about taking clothes off. “I know it’s not just stripping. I just keep telling myself that, and that keeps me going. Things are always tough in the beginning,” says Evita about continuing with burlesque.

After all, burlesque, “wasn’t about dancing girls. It was about titillating the audience,” explains Dita Von Teese. With burlesque it is more about how clothes are taken off. In some performances it takes the artist a good 10 minutes to simply peel off a glove. Further hindering burlesque being taken seriously, and separating it from just plain stripping, is the recent practice of lap-dancing clubs using the word burlesque to get operating permits.

Seedy clubs aren’t the only ones slapping the name burlesque onto anything, but. Mistress Basia mentions, “I saw something about belly-dancing burlesque classes being offered, and thought: What the hell is that?”

Dita Von Teese adds “I think that often times the term is used to describe a fashion style, but really, burlesque was about the show, and the focus was on the exotic dancers who all performed striptease. Sometimes the word burlesque is used too loosely to describe pinup or lingerie style.” This only furthers the public’s confusion.

Barcelona still has a long way to come to firmly define this art to the masses and have large-scale performances like the one Von Teese just finished at Paris’s Crazy Horse. The first American performer to grace the Parisian cabaret club stage, she has come a long way since her start in the early 90s. The fetish model turned burlesque dame is now a reference for many burlesque beginners.

What about the whole neo-burlesque, fetish connection? There seems to be an inescapable tie between the two. To those on the ‘in’, the connection is obvious. To those on the ‘out’, it is a bit obscure. Dita Von Teese tries to explain the union, “Well, fetishists were probably among the first to notice the modern burlesque revival because they tend to like things that exaggerate the feminine form, things like corsets, stockings and high heels. The fetish community embraced pinups like Bettie Page before the masses discovered her again too! The connection is really, historically, nothing. But a lot of modern fetishists are drawn to the exotic lingerie of the era.”

Dirty-boop believes fetishism lends added benefits to doing burlesque. “People from fetish are very detailed. They have a precise way of looking at things and know how to embellish.” Dirty-boop and Mistress Basia have an essentially traditional style of burlesque, presenting exaggerated comical vignettes strung together by central themes and music. Then, they catch the audience off-guard and add a twist, taking the scenes into the fetish world of bondage and domination.

Exaggeration and a ‘Come one, come all’ attitude is what also make burlesque special. While stick figures with bursting bogus busts grace nearly every fashion magazine, burlesque dames come in all shapes and sizes: tall, short, plump, thin, whatever.

“It is about celebrating femininity and being sensual. Forget what they told you when you were young, we are all goddesses and it’s about bringing that out,” explains Dirty-boop. Mistress Basia goes on to say, “I know more plus-sized women with more sensuality in their pinkies than the surgically-enhanced Barbies.” A quick look at performances from international burlesque festivals on You Tube and some of the most striking are from the largest ladies.

Evita Mansfield as well as Hungary-born dancer and Barcelona resident, Melitta Honeycup, will participate in one of the premiere international burlesque festivals this spring. They’ll travel to London for Chaz Royale’s International London Burlesque festival to expose the world to Barcelona burlesque. Nervous and excited, their performances aren’t just a big deal for their careers, but huge for Barcelona burlesque in general.

Evita’s been working hard on a routine to stand out. “I am taking fire dancing lessons and even juggling,” she shares. What also makes her unique is that from her passion and study of vintage clothing and corsetry, she designs and makes all her own costumes.

An intense labor of love, she is inspired by Mae West, Dita Von Teese and other iconic burlesque artists. Nothing subtle for this starlet, she seeks, what she feels is a “fundamental, feminine, attention- grabbing costume.” Heels that would invoke vertigo, feathers high and wide, corsets that hug the female form and garters are some burlesque costume standards. Of course, it costs a lot to craft these into show-ready pieces.

Buying costumes is also pricey, even though they cover minute parts of the female anatomy. The intricate stitching and sequins glued into place by an artisan’s steady hands can easily jack prices up into four figures. Most of the performers smuggle in certain, impossible to find elements. Bullet bras, ladies’ large panties – granny pants – of yesteryear are brought in from places with more established burlesque scenes, like London. Bibian Blue is the singular area-designer offering lovely corsets and accessories to performers in this genre.

Bibian is even responsible for all of the Chili Cats’ costumes. Mistress Basia and Dirty-boop got together with the star designer of ‘glamour and corset couture’ after years of friendship hanging out in the same fetish circles — again, a burlesque fetish connection.

Even though they get whispers for the company they keep and looks for their getups, there is a division between performers’ lives on and off the burlesque stage. Dita Von Teese clears things up, “I like a certain aesthetic, and I dress that way, but it has nothing to do with my show. I wouldn’t be caught dead wearing something I wear onstage in real life! I would never, ever be driving around listening to my burlesque show music in the car or anything like that!”

With the neo-burlesque revival booming and enough kinds of burlesque to make someone dizzy: grotesque, nymphaeum (water burlesque), silent burlesque – BCN’s Javier and Barbara are revered for their sordomudo (deaf and dumb) work – and even now ska burlesque, separating the authentic from the imposter is quite an overwhelming task. A simple rule of thumb, knowing that burlesque is identified as a comical variety show celebrating sensuality, where a ‘less is more’ attitude is employed, and beauty – whatever size and shape it may come in – may help.

April 1st – 5th, 2009
London Burlesque Festival