New Apprentices

Dear Constant Reader,

I have been simply terrible about introducing our apprentices to you!

Just to remind you, every six months or so, we have auditions for apprentices — people interested in a more intensive burlesque experience. Apprentices learn routines, costuming, production, &c. Basically whatever we’re able to teach. In exchange, they help us out with shows and things. The apprenticeship usually culminates in a solo act presented in one of our shows.

Some of our apprentices have gone on to be successful performers, like Jeannie Martini and Ingride Denise. Some have even joined the troupe! Both Devastasia and Ava started as apprentices.

Our current apprentices were thrown into the deep end — The Expo — and I’m pleased to say they survived.

IMG_1563

From left to right: Coco, Sharon Everything*, Phoebe Star, and Vivienne Kitt

You’ll be seeing some of them on stage during Secrets of the Illuminaughty on July 8!

*You might recognize Sharon as part of the group of apprentices who debuted in the opening act of Alice in Underwearland. They also had their solo debut at The Expo, as well as appearing in two group numbers, hosting the Rhinestone Revue, and stage managing The Bordello. And they still wanted to renew their apprenticeship for another term…

M2These writings and other creative projects are supported by my 19 Patrons. Thank you so much! To become a Patron, go to my Patreon page. Or you can just tip me if you liked this.

Published in: on 12 June 2023 at 5:30 pm  Leave a Comment  
Tags: ,

New Fans (sort of)

Dear Constant Reader,

I’ve not been the best of correspondents of late and for that I am sorry. I just haven’t had the inspiration to write. Today I realized that I never told you about my white fans.

If you’ve seen me perform, you’ve probably seen my white feather fans. I commissioned them from The Scarlett Rose (who also made my black and white ones) and first performed with them in V for Vixen in December 2009.

They had single white plumes on bamboo staves. Back then your choices for fan staves were bamboo or acrylic (probably from Ostrich.com). My hands are small, so I was very happy for the bamboo, which is lighter and sat better in my hand. She painted the staves white, then covered the front and back staves with a single piece of white trim which made a carrying loop. As a finally touch, she decorated that trim with rhinestones. I added more rhinestones to the shafts of the front plumes.

Ugly Duckling Fan DanceThis photo by Charles Jones, from my Ugly Duckling fan dance during Bumps Upon a Grind is one of my favorites.

I used those fans a lot over the years. I lost the nut on one pair and couldn’t find a replacement the right size, so I had to replace the whole bolt and it was too long. One of the staves cracked and I mended it with cloth tape. The fancy trim got grimy from my hands.

This year I finally decided to take the plunge and have Donna Touch upgrade them. Fan tech has come a long way since 2009 and bamboo or acrylic are no longer the only options. Donna makes staves from light-weight aluminum and powder coats them pretty much any color you could want. She carefully removed the plumes, which were glued to the staves, and moved them over to white aluminum staves and added another row of feathers. Check out her fine work here.

I debuted them at Burlesque with a Band in February. Here they are in action!

Mina 02-03-22

They’re quite a bit bigger now and slightly heavier, but so full and lush!

The slick aluminum staves took a little getting used to after the rougher bamboo, as did the new size. After using them for most of the year now they’re an extension of my hands again, 

rhinestones backI was missing the rhinestone decorations that The Scarlett Rose had done (I removed the bits of trim before I sent the fans to Donna), but the fronts of these staves are almost completely covered with feathers. However, the stave backs were bare. I pavéd them with rhinestones (from Looking Glass Gems) and continued up the feather shaft. The picture doesn’t capture how sparkly they actually are! (The gaps are for the holes where the wire is securing the feathers to the stave.) (And my feathers need a steam.)

So, a brief bit of real talk — a conversation I have with my students frequently — fans are an investment. I paid quite a bit for the original custom-made set in 2009 and twice that for the conversion in 2022. Now, I used the original set for 12 years and I’ve used the new version in most of my shows this year, so I don’t begrudge any of the expense. However, I hate to see new dancers take the plunge and then discover fan dancing isn’t for them.

That said, I would recommend Donna’s fans for any serious fan dancer. They’re light, they’re strong, and they’re beautifully made. I’m dreaming of a set of her boa fans. Maybe some day…

M2

These writings and other creative projects are supported by my 17 Patrons. Thank you so much! To become a Patron, go to my Patreon page. Or you can just tip me if you liked this.

Published in: on 7 December 2022 at 5:22 pm  Leave a Comment  
Tags:

Practicing Improvisation

Dear Constant Reader,

Tonight we have our first show with a jazz quartet at Flying Embers!

When working with live music, you have to be prepared for anything to happen and may need to improvise. Betty happens to be a master of improvisational dance. But being able to improvise takes practice. I know that sounds a little contradictory, but it’s true. I was part of a commedia dell’arte troupe and we improvised entire plays from a mere tissue of an outline. We also rehearsed a lot. So that when we really needed to create an entire play out of nothing on no notice (someday I’ll tell you my September 11th story — it’s long, but worth it) we could do it and it would be one of the best thing we ever did. But back to the burlesque.

Last night Betty gave us a lesson on improvisation in burlesque. She discussed some of the situations one might end up in, like finding your place in the music when the arrangement isn’t exactly what you expected. She ran some exercises and we all contributed some ideas. The key, of course, is that the audience should never know anything is amiss. I think three out of the four of us at rehearsal last night have some experience with live music, but the practice was welcome, especially right before a show.

Want to see how we do? Join Betty and me tonight! Can’t make it? We’ll be livestreaming through FaceBook.

M2These writings and other creative projects are supported by my 15 Patrons. Thank you so much! To become a Patron, go to my Patreon page. Or you can just tip me if you liked this.

Published in: on 20 January 2022 at 11:46 am  Leave a Comment  
Tags:

Burlesque with a Band

Dear Constant Reader,

As you might recall, last month we performed at Flying Embers Taproom and Social Club. (If you don’t recall, here’s a reminder).

We’re coming back, every other Thursday, starting next week, and we’re going to have live music!

It’s going to be a relaxed evening. Listen to the fabulous jazz quartet, have some delicious beverages (how about some hard kombucha?), and watch a couple of burlesque acts over the course of the night. And it’s free! (tipping is always welcome!) Don’t forget to bring proof of vaccination! This is per the City of Boston, so please don’t give the staff a hard time about it.

The first night, January 20, will feature Betty Blaize and me! We’ll be mixing it up every show, so you’ll get a different pair of dancers each time.

This past Monday we got to rehearse in the space with the band for the first time. Big thanks to Ashley who gave up her night off to let us do so! The chance to work with a band for a series of shows is wonderful. We can play off one another, especially when we get to know each other’s style a bit more.

Betty is the best of us for this. She’s a skilled improvisational dancer and, as a musician herself, knows how to communicate what she wants to the band. It’s a joy to watch her. As it turned out, she brought two costumes (we’ll each be doing two acts per night), but the band had three songs ready. This did not perplex her at all and she did a costume mash-up for the last song.

We’re also performing in the center of the floor, so there’s potential audience all around the room. We’ve got to make sure everyone gets a good view. It was so helpful that Ashley and her friends sat at some of the tables to give us some practice.

I’m really excited for these shows! Please join us on the 20th and every other week thereafter!

M2These writings and other creative projects are supported by my 14 Patrons. Thank you so much! To become a Patron, go to my Patreon page. Or you can just tip me if you liked this.

Published in: on 12 January 2022 at 12:51 pm  Leave a Comment  
Tags: ,

Performing Live Again

Dear Constant Reader,

The BeauTease have our first live show* on Saturday! We’ve been performing throughout the Long Intermission — five recorded shows (and I’m pretty proud of how much better they got as time went on), but it’s not the same thing. Performing for a camera is not like performing for people. Live means no reshoots and no clever editing — what you see is what you get. Nobody is going to be watching the recording later; the audience that shows up that night is the total audience we have.

We went back to rehearsing twice a week. Besides dusting off our acts, we are also refreshing the rhythms of a show. Although we’ve kept practicing our dance moves and routines, that’s only part of what makes up a show. We have to remember how to set up the backstage, the most efficient way to change costumes between acts, how to engage the audience and react to their reactions, how to support one another before and during the performances, what equipment to bring.

It’s a brand new venue for us — upstairs from the American Burlesque Collection. So exciting! Scratch and Hunter have been working in the theatre to improve the lighting (and possibly other things that I don’t know about). We’ve left plenty of time in the schedule to try out the stage and figure out the quirks and advantages, but still there are likely to be some surprises (not necessarily a bad thing). 

It’s the magic of live theatre! I hope you will join us on Saturday! (VIP tickets get you a tour of the new museum exhibit before the show!)

M2These writings and other creative projects are supported by my 14 Patrons. Thank you so much! To become a Patron, go to my Patreon page. Or you can just tip me if you liked this.

*Full disclosure, there were two live performances in early spring this year — one just me and one with the troupe. Both were small, private birthday parties, with safety precautions, but it was still very stressful and only served to remind me what I was missing so badly.

Published in: on 30 June 2021 at 11:44 am  Leave a Comment  

Creating Choreography for BABE

Dear Constant Reader,

True confession time. I do not like creating choreography. It doesn’t come easily to me and it’s not particularly fun. However, it’s a good teaching tool and students seem to like learn routines as much (if not more) as building skills. How about a peek behind the curtain of my process for the new one I’m teaching on Thursday?

A choreography for teaching is very different than one for performing. I want something easy enough to teach in a limited time, but still challenge the students, have a variety of moves/skills, incorporate modifications as necessary, and be fun. The one in question also needs to evoke Valentine’s Day.

Because I don’t enjoy creating choreography, I dawdle and dally and then have to scramble madly. This time,  I vowed to have my shapely butt in gear and make Valen-Tease a quality class without making myself crazy. It didn’t hurt that a whole bunch of students registered as soon as the class was announced. (Want in? There’s still room.)

I set a deadline of having the whole thing completed by the Sunday before the class (this past Sunday) so I could show it to the BeauTease and get feedback. I had a concept, which is what I announced — a sensual striptease out of a robe, stockings and heels, done partially on a bed or couch. Then I needed music that would fit the bill; something it the 3-minute range, since I have just an hour to teach. Scratch made some suggestions, one of which inspired me to use a different song by the same artist.

Song acquired, I broke it down into sections and sketched out my ideas for each part. Then I got into costume and tried it out. And changed things, and tried again, and changed things, again and again, until something solid and reproducible emerged. It’s a tedious process. At least for me.

At last I had something I was wiling to show other people.  As luck would have it, our in-person rehearsal was moved on-line because of the snowstorm, so I could show the troupe from the room where I would be teaching. They gave me some feedback and made some suggestions based on my demonstration. Then we all did it together and gave me some more thoughts.

A little more work and it’s ready for class on Thursday! Except that I’ll probably make a few tweaks while teaching, since no choreography survives contact with students.

Perhaps you’ll join me….

M2These writings and other creative projects are supported by my 14 Patrons. Thank you so much! To become a Patron, go to my Patreon page. Or you can just tip me if you liked this.

Published in: on 9 February 2021 at 4:05 pm  Leave a Comment  
Tags:

BurlyCon 2020: Scene Studies

Dear Constant Reader,

The very first thing I participated in at BurlyCon was the Master Scene Studies.

This year BurlyCon held their first Master Class track. As the name might imply, these were more in-depth classes for performers with a certain amount of experience. One had to apply to participate in the Master track and one of the questions was if you wanted to participate in the scene studies. I checked “yes” without even really thinking about and assuming I woudn’t be chosen and then promptly forgot about it.

I was therefore slightly panicked when I got the email that I had been accepted to present an act for the scene study. I had no idea what act I wanted feedback on. Scratch suggested “What Are You Doing New Year’s Eve” as it’s been dormant for a year and I’d be performing it for The BeauTease Holiday Special.

We each submitted video of the act (or you could perform live, but no one did). Mine was from Brrrlesque at Deacon Giles two years ago and while you could get the gist of the act, it wasn’t great video. Then the participants and any other interested Masters gathered at the appointed time. Our wonderful moderator, Champagne Sparkles, would play the video and then our very skilled facilitator, Fosse Jack, structured the discussion. Each performer got about half an hour to receive feedback, which was given both spoken and in the chat.

I was so nervous. I was scheduled last and while I’m glad I didn’t go first, I was sweating until my turn.

The feedback was excellent. Because we were all experienced performers, there was no hand-holding or ego-stroking, just direct and kind suggestions for improvement. It got pretty granular too. And these were good acts to start with, no matter what we thought of our individual performances, they were all solid and skilled and worthy to be on stage (it’s really hard for me to write that about myself, because we are all our own worst critics).

The really valuable part came next. We had about 4 days to incorporate the feedback and film the act (or prepare to perform it live) before meeting again. Champagne sent each of us the video of our feedback section and any comments from the chat, so we had that to refer to. The challenge for me was getting some halfway decent video.

I set up my camera in the living room and hoped for the best. My first attempt had autofocus going berserk. In the second I was partially out of frame for some of it. I was out of time and figured I’d have to perform live. Then I realized the noon deadline for submitting videos was Pacific time and I had three hours more than I thought. I recruited Scratch to set up the camera, so I’d at least avoid the issues I had trying to shoot alone. It was much better (even if you can hear him doing …. something … off camera during the act).

We regrouped, not exactly all the same people as the previous session, but mostly the same. In the same order as last time, we watched the new videos and got another round of commentary. It was so interesting to see what changes the performers had incorporated. And every act was that much better.

There were definite advantages to doing this in a virtual format.  Long ago I participated in a Peer Review at BurlyCon and it’s hard to hear feedback right after you’ve performed, even if that’s what you’re there for. At least for me; I’m still in performance headspace. By submitting video, especially video of something I performed almost two years ago, I could be a little more dispassionate. And I could see myself instead of being in myself, if that makes sense.  Having just watched the act with an outside eye, it was easier to absorb the feedback.

One of the presenters filmed two different endings for her act (plus a hilarious blooper), something she couldn’t have done easily live,. Because I was going to be performing my act on video in roughly where I had filmed it, some of the feedback was suggestions for filming or editing. Most importantly, having to immediately put the feedback into use and then revisit the act was so valuable, and impossible if we’d been in-person for  long weekend

I attended the following session, where I could relax and just watch the performances without stressing about my own. Unfortunately I could only attend the initial meeting, as I had a conflict during the revisit. I’m so curious about how those three acts turned out!

If you’re curious about how my act turned out, tune in to The BeauTease Holiday Special, dropping in less than two weeks!

M2These writings and other creative projects are supported by my Patrons. Thank you so much! To become a Patron, go to my Patreon page. Or you can just tip me if you liked this.

Published in: on 2 December 2020 at 3:16 pm  Leave a Comment  
Tags:

Thoughts on Teaching Remotely

Dear Constant Reader,

I decided to close the studio on March 17th. For the rest of the month, I tried to figure out how to move forward. I decided to teach remotely and I’ve been doing so on two platforms.

I started with mini-lessons on Instagram Live. After trying a few things, I settled down to a schedule of every Wednesday at 3pm. We’ve turned the library into a studio and it’s working pretty well. We’re not really actively using it for anything else and it’s got a lot of natural light (hence the mid-afternoon broadcast). Previously I tried shooting in our dining room, but it’s darker and the chandelier is just a terrible lighting source.

IG Live is very weird. I know people are out there, but the only way we interact is if they comment, which I can’t read in real time because my phone is set up too far away for my myopic eyes. I’m so used to seeing my students and tailoring the lesson based on their feedback, both verbal and physical.

After I finally figured out how to save Live videos (that first floorwork class is gone forever — probably for the best…), Scratch is doing a little editing to make them pretty and they’re going up on IGTV and YouTube. I’m cringing a little afterwards at how any time I say “um” or have to stop and think about what I’m doing next, even with prep or just forget to introduce myself.

I agonized about how to handle my regular classes. After all, people had already paid for classes and I figured they also needed a little distraction, some fun. I got a pro Zoom account and learned how to use it on my tablet (I don’t own a laptop). I tried running classes from my dining room (as mentioned above) and finally decided to use the B.A.B.E. studio. So, once a week, I drive to the empty office building and lock myself in at The Arts Nexus. Scratch set up some lighting in the smaller studio and I bring a stand for my tablet.

My April students have been great! Their enthusiasm really bolsters my spirits. They’ve been taking some of the clunkier aspects of class — like the costume show and tell — in stride. Again, teaching is challenging. I have everyone set up in a grid view, so I can kind of keep an eye on what they’re doing while I teach, but really I have to get close and peer at the screen to check on their progress. Also, everyone is muted unless they have a direct question, so I get a lot of silent thumbs up, when I check in. I desperately miss the in-person interaction.

I decided that everyone who had registered for class prior to the shut down could take that class on-line, but also in-person once we reopened, whenever that would be. Some have opted to wait for studio classes. I hope it’s not too long…

For the May Intro classes, I’ve introduced an on-line only price. I’m hoping people who have always wanted to take a class, but live too far away or couldn’t afford the full price can join in.

I’m also planning a series of one-hour workshops for those who don’t want to make the commitment of a multi-part course (or just don’t don’t have the attention span right now). I’m thinking of making these donation-based rather than a set price.

Speaking of money (which I rarely do), at the moment I’m teaching for free. Yes, the Bite-Sized Burlesque lessons on Wednesdays are and will remain free on social media for as long as I run them. I mean, I’m not getting paid right now for the regular classes, although my student have all duly paid their registration fees.

Right after I closed the studio in March, I got am email from my ticketing company. They were overwhelmed with cancelations and refunds and reduced staffing, &c. All outstanding checks were being canceled and would be reissued in 14-21 days. Unfortunately, that message came several days after I had deposited my checks. So, the checks bounced and the bank hit me with fees. And I haven’t heard anything about when those payments will be reissued nor when payment for the April classes will come. It’s convenient to run registrations through this company and we have a long-standing (and usually great) business relationship, but if they’re going to hold my money indefinitely, I’ve got to find another solution.

The tl;dr of it is: I miss my students and I’m trying my best to put burlesque lessons out into the world, but it’s a challenge.

M2These writings and other creative projects are supported by my Patrons. Thank you so much! To become a Patron, go to my Patreon page. Or you can just tip me if you liked this.

Published in: on 22 April 2020 at 1:37 pm  Leave a Comment  
Tags:

2019 in Review

Dear Constant Reader,

2019 was a year full of challenges. A hard, frustrating, often depressing year. A look back at my journal shows a lot of despair and desire to give up. I feel like we performed less frequently (not true — I performed as many times as in 2018 — but this year we had a number of shows that got canceled). I was not accepted into any festivals this year. On the other hand, I traveled a bit and performed in two new states.

January
I go to Los Angeles to perform at Burlesque Bingo: House of Knyle Edition and graduate from Egypt’s mentorship program. I regretfully turn down her offer to join her house. I get to spend time with Kitten Natividad and see friends. The only downside of the trip was that a class with Michelle L’amour was canceled. Everything else was wonderful.

February
We have a Valentine’s Day show at a new venue, Thunder Road in Somerville, where our newest apprentices help out. I get sick again, just in time to spend my birthday in bed with a bad cough. I also teach a workshop at a college for “Love Your Body Week”. It’s well received and a lot of fun.

March
We perform at the Mardi Gras Ball. I go to Costume-Con, which is local. Maybe someday I’ll even show you the costume and talk about its creation. I travel to Atlanta to perform in Coco Rosé’s anniversary show.

April
April marks 2 years that I’ve been on Patreon. Not much has changed there from when I started in terms of numbers of Patrons. I really need to figure out how to change that. We perform at a private club above a strip club with an interesting dressing room situation. Satan’s Angel dies. I still don’t have the words.

May
I teach a burlesque fitness class for a swanky hotel in Boston. We have a beach party show at Thunder Road and the apprentices, Electrix, Holly Go Harder, Kyra Lida, and Madeleine Minx, perform the solos they created with us. The venue likes the show so much they offer us a monthly slot. I also debut a new fan dance, which I love a lot. Despite performing it at 3 shows, there’s no video. It seems to always be the way…

June
I go to Topeka, Kansas to perform in a fundraiser for a historic theatre. This was probably my best traveling showgirl experience this year! The audience was great, the other performers were lovely, the producer was wonderful. And there was KC barbecue.

July
We have to leave The Thalia. Certain renovations have to be done and the city of Cambridge’s bureaucracy is making it nigh unto impossible to get the appropriate permits and licenses. We can’t use the space again until the work is done. We spend the next two months scrounging for rehearsal space. It’s very stressful.

August
Rust Belt Burlesque, a collection of photos from Cleveland burlesque shows is published and The Faerie Queene makes an appearance.

We’re still rehearsing in found space, but everyone is trying to make the best of it.
 

September
We have a new home! Welcome to The Arts Nexus, a space with multiple(!) studios. It needs a lot of work, but after a summer of traveling around, it’s wonderful. Also, we start our monthly show at Thunder Road on the second Saturday. We invite Electrix to join the troupe and she says yes!

September is also pretty terrible for me emotionally. I didn’t write about it at the time, because I was so badly wounded. Three former students (one of whom even taught for me) demand to have their presence removed from my school’s website. And a ex-troupe member tells me to kiss off when I reach out. Thanks, ladies, for reminding me just how inclusive and open-minded the Boston burlesque “community” is.

October
We do 3 shows in October, in Cambridge, Somerville, and Salem, with almost no overlap in numbers. It’s exhausting, but the shows are very good.

I win a contest for an incredible unique piece of art. The experience brightens my entire outlook after the soul-crushing events of September. I feel creative again. I host a spooky tea party. I record and edit a Halloween story (learning Audacity to do so). The day after Halloween I get to meet the artist herself in a graveyard in Salem.

November
I make my mostly annual pilgrimage to BurlyCon to teach and to learn. Scratch and I go to Miss Bonnie Dunn’s Le Scandal Cabaret for his birthday. I have a warm spot for this show as it’s where I made my NYC debut (although not in its current location).

December
A very disappointing month. We have no shows at all. Worse than not having any shows, we think we have three and for one reason after another, they don’t come to pass. Very frustrating. On the other hand, I don’t have to work New Year’s Eve.

A very mixed year. Mostly a low one, with a few bright spots. Here’s hoping 2020 is better!

M2These writings and other creative projects are supported by my Patrons. Thank you so much! To become a Patron, go to my Patreon page. Or you can just tip me if you liked this.

Published in: on 13 January 2020 at 10:09 am  Leave a Comment  
Tags:

Teaching, Learning, and Relearning

Dear Constant Reader,

The BeauTease have a new crop of apprentices and we’re training them. Part of the way we do that is through exercises. However, all of us participate, not just the new kids.

It’s good for all of us. The troupe members can lead and guide and the apprentices don’t have to feel like they’re being flung to the wolves while everyone else watches. We all get to practice our skills and it’s valuable for the established performers to get back to basics.

We started with character exercises. The simplest version of this is that everyone draws a card on which is written an emotion. One by one, to the same bit of music, we walk across the floor and express that emotion. Then everyone watching tries to guess what the emotion was. We learn to be big and clear, to express emotion with the entire body. For some, it’s practice walking in time to music. This exercise can get more complex and involved, but we left it at the simple version.

The next one is Standing, Sitting, Kneeling, based on an improv game. We have one chair and 3 performers. Someone needs to be on their feet, someone needs to be using the chair, and someone needs to be on the floor. The goal is to work together and trade off positions while creating an improvised group routine. This exercise has sparked a couple of our group acts…

Factory Girls

Feelin’ Good

But no time for such things now. Our rehearsals are focused on our Secret (Santa) Show on Saturday, December 21. It’s a festive evening of seasonal burlesque at an undisclosed location only revealed to ticket holders! The apprentices will be making their striptease debut!

M2These writings and other creative projects are supported by my Patrons. Thank you so much! To become a Patron, go to my Patreon page. Or you can just tip me if you liked this.

Published in: on 11 December 2019 at 3:38 pm  Leave a Comment  
Tags: ,
« Older Entries