Tag Archive: miranda glamour


A lively cast of Las Vegas locals put on the monthly “Burly-Q Revue” on Feb. 10 at Daddy Mac’s and proved that, contrary to insinuations in the Las Vegas Weekly, there is a lot of Vegas burlesque to love.

Miranda Glamour, pictured left, was the “femcee” for the night and conducted the show with her usual mix of warmth and wryness. The timing of the performance wasn’t ideal, as the “Varietease” event for the Burlesque Hall of Fame was also taking place the same evening. Logistics meant that the start-time of the  “Revue” was delayed by an hour, but that was the only casualty.

Glamour detailed a bigger tragedy, though. In her coverage of the “Varietease” show, Kristin Peterson of the Las Vegas Weekly commented that, “aside from Cha Cha Velour’s monthly burlesque show at Boomers Bar, it’s slim pickings around town, despite the burlesque dancers that abound here.”

Hmm. Maybe Peterson is talking about Las Vegas, N. M., because Las Vegas, Nev. has more burlesque than arts writers like me know what to do with. Yes, as Peterson pointed out, Cha Cha Velour’s “Booming Burlesque” at Boomers Bar is a fantastic standby. However, the “Burly-Q Revue” takes place on the second Thursday of every month is is tied with Madonna for reinvention capabilities.

Karnival” at the Onyx is generally the second Wednesday of each month and almost always includes burlesque of some kind. The Erotic Heritage Museum is known for featuring performers like Dr. Sexpot for one-time-only or serial events, like the “Grindhouse Burlesque” show that took place on Feb. 13. Jeff McBride’s “Wonderground,” another recurring show, happened Feb. 17, as did the “Four Play Variety Show” at the Erotic Heritage Museum. There has also been talk of a burlesque game show that would be transpiring in the near future.

Individual performers are continually grabbing the neo-burlesque movement by the horns and organizing their own shows. The people behind these instances will tell you that the burlesque business isn’t easy. It isn’t dead, either, and the performers deserve credit where credit is due … including at the “Burly-Q.”

Once the show got started, it skipped along energetically and featured acts from well-established Vegas performers. Lou Lou Roxy, with pink gloves and her signature smirk, managed to shimmy her way out of a strait-jacket to a track that could have scored an enjoyably bad spy movie. The second act featured Roxy in a glittering copper dress, which was soon discarded in favor of fringe and feathers that were both artfully wielded.

JP Nomi Malone performed, most memorably, a contemporary pointe number to Across the Sky’s “First Love Song,” which was a true novelty and holds potential for future performances. Cartwheels, handstand-rolls and splits, coupled with the exaggerated presentation, made both of Malone’s acts entertaining.

 

Miranda Glamour and Dr. Sexpot maintained intermittent banter that kept things cohesive. Glamour’s delightful “Touch-A Touch-A Touch Me” from “Rocky Horror Picture Show” is becoming a signature act for her and, like a good cheese, keeps getting better with time. Sexpot revealed unsung talents on the piano to go along with her splendid voice in a jazz number at the top of the show. Her sunshine-steeped personality also shone through in “Put a Bag Over My Head and Let’s Make Love,” which was, if possible, almost musical theater burlesque.

Blanche DeBris, part of the cast of “Menopause” at the Luxor, gave Sexpot a vocal run for her money with a rendition of “Funny Valentine” sung into a handheld mirror. Oh, and there was a guy eating what looked like flaming marshmallows. Zamora the Torture King smoked other performers with his fire-eating act and ended the show with the same side-show energy that makes burlesque so much fun to watch.

 

All bawdy jokes aside, this month’s “Burly-Q” was unexpectedly poignant. While the comment in the Weekly certainly isn’t condemning in itself, it reveals a sobering mentality about some of the artistic work in the city. Grassroots shows like this can be easy to overlook sometimes. However, the vivacious effort on the part of the performers makes them considerably harder to discredit.

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Flame-spinners, magicians, contortionists and babes with big voices got together for January’s “Karnival,” held at the Onyx Theatre on Jan. 4. As the first show of the new year, the performance represented an auspicious start. As an installment in the ongoing “Karnival” series, it constituted a step in a dynamic and highly enjoyable direction.

One of the strongest attributes of the show was its ability to showcase new talent while still keeping audience favorites alive and well. The recurring “Mama” character was present in voice if not in person; a voice-over was broadcast because, as the story goes, Mama was in Costa Rica during the show. (Stephanie Castellone, Mama’s alter-ego, was in the show this time around and no walker was necessary.)

Instead, Mama’s sister Girdy (played by J P Nomi Malone and pictured below) fulfilled the role of hilariously outrageous accoutrement. Coupled with emcee Vivianne Dumonde, the drag queen filling in for Ginger Grant, the show was well-spiked with comedy of the same brand but of a different flavor.

The talent continued along this vein as well, with a mix of classic acts and newcomers. Spade of Hearts started the show in proper Broadway fashion with a cheeky character, a masked rabbit in a tux, sly magic tricks and a fabulously belted version of Jefferson Airplane’s  “White Rabbit.”

Leda Las Vegas and Lou Lou Roxy took the audience from Wonderland to a cabaret … or, rather, “Cabaret.” Leda, mic in hand, sat coyly at a table downstage while Roxy, clad in black fringe and dark lipstick, preened and shimmied her way through the act. The number was both understated and outgoing, with Leda’s expressive voice defying the role of simple accompaniment.

Two other voices stood out in the show as well, proving that while “Karnival” might be playful at times, the performers themselves aren’t playin’. Isabella Ivy and Ianroel Gargantiel (pictured left) sang the title track from “Phantom of the Opera,” complete with an opera gown on Ivy (but, strangely, no mask on Gargantiel.) Ivy’s soaring soprano and the seriousness of Gargantiel’s character were transforming forces for the small theater and added a note (or several) of seriousness to the show.

Bellydancer Resa Alhena, accompanied by John Dark on accordion, and Miranda Glamour held down the dance fort with two different but catchy acts. Alhena and Dark (both pictured below) performed a sweet and sultry duet at the top of the show, rife with details from fingers and belly alike. Perhaps the most enjoyable facet of the number was the conversational nature between the two and Alhena’s serenity and quiet smile were infectious. Glamour took another route altogether, stepping into “Toucha Toucha Touch Me” track from “Rocky Horror Picture Show” with all the personality and bubblegum sass that the song requires.

A magician, a fire-spinner and a Cirque contortion act ushered in the quintessential side of the circus a la Las Vegas.

Kyle Marlett (pictured left), a self-proclaimed nerd magician that has yet to turn 21, razzle-dazzled the audience with unique illusions to a track from “Chicago.” Ripped paper that became whole, a never-ending sugar packet, and a one-sided conversation with the audience transcribed into a composition book set up Marlett’s grand finale: a demonstration that he really does have the best mouth in Vegas (their words, not mine.) Into that mouth went dental floss, followed by a number of small objects. By the end of the act, Marlett was pulling the floss back out of his mouth with each of the objects tied, in cherry-stem-style, to the string.

Oh, my. Marlett’s illusions were excellent and his Michael Cera-esque demeanor was both endearing and impressive.

Contortion and fire ended the show in style. Cirque contortionists (of whom Castellone was one, explaining the absence of Mama) twined over, under and around each other in a number originally performed in the touring Cirque show called “Nouvelle Experience.” The ease with which the performers maneuvered was astounding and the smiles that interspersed the act were the cherry on top.

Who loves a flaming stage? Maybe not the stage manager, but Chris Staefe (pictured above) has it under control — it was only on fire fora few seconds, after all, and it really was intentional. Staefe’s choice of music, a dramatic instrumental track from “The Lion King,” paired with the act well and accentuated the “wow” factor of watching balls of fire on a string spinning around.

And all too soon, the performers were stepping forward for their final bow. I don’t know if a New Year’s resolution at the Onyx was to ramp up the entertainment value of their shows, but if it was, mission accomplished. Hopefully the extreme talent and variety continues.

In an entertainment city famous for its governing body of giant production companies, a small group of ambitions performers is initiating what can only be thought of as the Grassroots Burlesque Movement.

Called “The Burly-Q Revue” and held at Daddy Mac’s Bar  at 2920 N. Green Valley Parkway, the show features burlesque and Vaudeville-style acts reminiscent of vintage variety shows.

Miss Miranda Glamour and Roxy Rouge, both seasoned professionals, co-produce the “Revue” as a way to showcase local talent.

Glamour, sporting shamelessly pink hair, was the designated emcee of the evening. She contributed the corny jokes and lewd commentary signature to the genre, setting the stage for the bawdy performance to follow.

The language went from bad to worse with the progression of the show, but the good-natured, tongue-in-cheek approach made the crudeness almost endearing. Even the mic check at the beginning had personality.

Aside from Glamour, the number of performers topped out at a ferocious five.

Vocalist Leda Las Vegas lived up to Glamour’s description (“voice like an angel, mouth like a sailor”) with a wonderfully mature voice that rang of classical training.

Leda Las Vegas beckons in her parody "I Want to be Drugged by You"

The  Burlesque Shot ($2, half of which goes to supporting the show) also made an appearance half-way through the act. Props to Miss Las Vegas: even after the shot of alcohol, she finished just as strongly as she began.

Janell Burgess, a classically-trained dancer hailing from Anaheim, performed two numbers and sauntered around the bar between sets. Katy Perry would have been proud–with the spiky blonde hair and gorgeous legs, she looked the quintessential California girl.

Burgess slinks through a sultry number with long legs and a 100 meter stare

Burgess’ training was evident in her musicality and strong dance lines. The ripped body underneath her black suit top and lingerie was testament to the exceptional physique necessary for the demanding performances.

Scarlet Phoenix, the “Texas Tease with Double D’s,” displayed her feminine, feline side and was met with cat-calls from the audience. Sin City Sunshine followed close on her heels with a deep, full voice that suited the smoky atmosphere.

Roxy Rogue, co-producer, brought audience members to the stage. Each was gowned in a white T-shirt and branded with a signature in marker and handprints in red paint in questionable places. (And yes, they got to keep the shirt.)

Overall, the show’s strengths vastly outnumbered its weaknesses. Seating needs to be improved—room dividers and high-backed booths block the view of the stage from most places in the bar.

However, the fresh personalities bounded over those barriers anyway. Glamour’s sassy rapport with the audience created an easy-going and highly enjoyable ambiance.

Audience members, many of whom were not aware of the “Revue” debut before it began, were respectably supportive of the local talent. And, as Glamour pointed out, this is rightfully so, because there is a lot of it out there.

Check it out the second Thursday of every month at Daddy Mac’s, 2920 N. Green Valley Parkway, #6 in Henderson.

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