Oh, The Glamourous Life!

Dear Constant Reader,

The original plan was a big theatre show with a plot, like Vamps After Midnite, for two weeks. However, after reasons too tedious to discuss (finding a venue, negotiating, waiting, signing a contract, having requirements added for being an “adult” show i.e. more money), Scratch decided it would be more fun and less stress (and fewer arbitrary expenses) to do a scaled down version as a revue.

This was also a graduation of sorts as both our apprentices presented the solo acts they created with us.

Our first run was at Deacon Giles, our favorite spot. We planned an early show and a late, as we so often do, and they both sold out pretty quickly. Hurrah!

Salem in October can be quite a zoo and traffic is often hideous, so we planned to leave Boston quite early. Thank goodness we did, because as soon as we got to Deacon Giles and began unloading, about an hour before call, I couldn’t find my second bag. Off I drove, back to The Manor, found it tucked behind the front door, and turned around. Thankfully traffic was only bad in patches. So much for less stress…

When the first show began, we had some issues with the sound system, which mercifully were figured after the first couple of numbers, but the show began to run long. Then we learned that Salem requires everybody out by 11pm, because Deacon Giles has a tasting room, not a bar. Scratch made some changes and cuts on the fly. I’m especially grateful to the apprentices for rolling with the chaos.

Our second date was at Club Café in Boston, a new venue for us, and in the week between the shows, we made a few more changes to the line up. And Club Café had a projector, so Scratch created backdrops for each act to be projected on the back wall. I’m delighted to say that this show also sold out!

Thanks to our stage hands, Jeanie Martini (both locations), Marek (Salem), and Kitty Switch (Boston), plus the apprentices helped out when they weren’t performing.

We had a photographer on both dates, so eventually there may be photos, but for now, you’ll have to deal with my written commentary. The order of acts is that from the show at Club Café, with some notes about how things changed.

Ava Fox, Phoebe Star, Vivienne Kitt: “Kindergarten”, Unkle Ho
This is generally the first group number we teach apprentices. It’s got opportunities the performers to express their personalities through expression and solos and it’s very versatile in terms of theme and costuming. For this show they were all pitchfork-wielding devils.
During the first show at Deacon Giles, there was something wrong with the sound system (Scratch figured out and fixed it) and the music was going in and out. It’s a testament to how well the performers drilled, that they didn’t let it throw them and performed the act as well as they would have under perfect circumstances.

Devastasia: “Moon Over Soho”, The Tiger Lilies
When we decided on a Halloween circus show, it was obvious that Devastasia would bring this creepy clown to life again. The music, by the way, is a reimagining of “Mack the Knife”, which happens to be the song Devastasia used for her first burlesque act, created in the Burlesque Your Way class at B.A.B.E. (shameless plug for the course coming up in January).

Scratch: The Spike
This is a rather dangerous magic act involving a large, sharp metal spike, which I can’t watch… This only appeared in the first Salem show. It was cut from the other shows because it can run long depending on the audience member who is involved and we had to keep all the shows tight.

Mina Murray: “Rise Up Bones”, Theatre Bizarre Orchestra
This was a new act for me. While I’m pretty happy with how it turned out, it took a turn during development and ultimately never felt either carnival or Halloween. So for the Club Café show Scratch asked me to substitute…

Mina Murray: “Moon Over Bourbon Street”, Sting
A fan dance in black and white. At the last minute (that is, the night before), I had a sudden inspiration about how I could enhance it. I used the bat pastie templates that Manuge et Toi Design released to Patrons for Halloween and quickly rhinestoned them. Fortunately I had lots of black and red stones from Looking Glass Gems. But the final reveal wasn’t actually the pasties — it was a snarl that showed the fangs I wore in my Vampire’s Lair photos with La Photographie.

Vivienne Kitt: “Season of the Witch”, Lana Del Rey
This was Vivienne’s solo debut! She is an experienced flag spinner and decided to incorporate that skill into her act. As it evolved in rehearsal, she cut the striptease elements and focused on the flag spinning, putting the spotlight on her talent, which was unique in this show.

Betty Blaize: “You’re the Boss”, Brian Setzer
Betty’s been dancing with The Devil since our very first Halloween show back in 2005, and it just keeps getting better.

Ava Fox: (I don’t know what the music was)
A brand-new act from Ava, and very different from anything she, or any of us, has done before. It involved a bit of engineering, but that’s her speciality. It also involved making balloon dogs. And I think I’ll leave the rest to your imagination.

Scratch: Urban Legend
The urban legend of the title is razor blades in Halloween apples. This is another magic trick that I can’t watch. It was cut from the first show for length but appeared in the other two.

Phoebe Star: Blood Countess (“Burning Desire”, Lana Del Rey)
Phoebe’s solo debut! Tall, willowy, and gothic, it’s no surprise that she made an excellent sanguinary aristocrat. Her costuming was both beautiful and clever with some lovely details.
(Hey, I just realized both apprentices used Lana Del Rey songs…)

Devastasia: (some circusy music)
I was not surprised in the least that Devastasia proposed a lion tamer act. She quite looked the part in sequined tailcoat, top hat, and boots. And whip, of course. That whip wasn’t just for show — she taught herself to crack it in several different way. Quite impressive! (and loud!)

Ava Fox: “Upside Down”, Paloma Faith
Ava originally created this acrobatic chair dance for Alice in Underwearland. In that show she was dressed as the Cheshire Cat, but for this one she made a leopard costume. Which dramatically just fell off her at the crucial moment. It took a lot of practice and tweaking in rehearsal, but worked perfectly on stage.

Betty Blaize: “Farewell Magyar”, The G-String Orchestra
I think Betty created this act for the very first production of The Wrathskellar, long ago. She cuts her costume off with a knife. Real knife, quite sharp, actually cutting through the fastenings for her costume pieces. Yeah. That’s commitment to an art. For this year she made a new and quite spectacular coat which is adds even more drama to the act.

Devastasia: “Science Fiction, Double Feature”
Devastasia showed off that she had lots of skills by singing this audience favorite. It only appeared in the Boston show, having been cut for length at the Salem shows.

Mina  Murray: “Baby Did a Bad Bad Thing”, Chris Issak
And I closed out the show with another old favorite, my tribute to Fall River’s most infamous daughter, Lizzie Borden. It’s usually last because it’s rather messy — to remove the blood from my hands, I take a sponge bath on stage. Although I try to mitigate the drenching with some rubber-backed rugs, the stage still ends up getting more than a little damp.

We had a lot of fun with this show, despite the chaos of rearranging the run order and cutting acts on the fly in Salem. Now we’re getting ready for our next show, BRRRlesque on Friday, December 15 at Deacon Giles. I hope you’ll join us for some holiday cheer! Last I heard there weren’t a lot of tickets left, so don’t wait.

These 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.

Dear Constant Reader,

October was a busy month. We had three shows in three different styles, with almost no overlap in acts, which is a *lot* of rehearsing and some lightning fast act creation and teaching. First, the superhero sexiness of Batwoman Burlesque, then the cute and campy horror of It Came from Beneath the Tease, and lastly the dark and disturbing Burlesque Macabre.

We weren’t presenting The Wrathskellar this year (someday, it will reopen!) and we were itching to do something similar. October is the only month we get to go dark on stage. I may look oh-so-elegant and glamorous most of the time, but I LOVE the creepy stuff. The Manor skews more Addams Family than Old Hollywood most of the time. It’s such a treat to break out of our usual aesthetic and use music that wouldn’t ordinarily make the cut.

We had two late night shows at Deacon Giles and I’m pleased to say the first show sold out and the second was even better attended than I expected for an 11PM show on a Friday night. Unfortunately no pictures from the show, but we did get video. And might even let you see it someday…

Big thanks to Hunter for lights and video, English Sarah for working the merch table, and Pirate Jenny for kittening. It was her first time and she did a great job!

Mina Murray: Sex Spider (Gogol Bordello)
This new act was an excuse to bring out The Diva’s Coat, probably my favorite costume that I’ve ever made. Someday (if I get enough Patrons) I’ll tell its story.

Ava Fox: Dead and Lovely (Tom Waites)
Another new act! And the first time someone else in the troupe did a fan dance! Admittedly they were my fans (a gift from Scratch), but they’d been a pile of components for years. Ava did all the assembly herself (and did a much better job than I could have).

Devastasia and Electrix: A Most Unpleasant Way/Dark Eyes (Gordon Bok/Devochka)
Scratch has always loved the first song in this set and envisioned an act to it. Devastasia was the right person to give it eerie reality. And the bird costume she made is amazing. The painting on the mask is so detailed!

Scratch: Magic
I didn’t see this but I know it involved a playing card and a lighter.

Betty Blaize: Farewell Magyar (G-String Orchestra)
A classic! Betty cuts off her costume with a very real knife. She created this act for the very first Wrathskellar and has been performing it ever since. If I remember correctly, the music comes from a band Scratch heard playing on the street in New Orleans.

Mina Murray: Nightmare (Mac Gollehon, et al.)
Earlier this year I created an act with the guidance of Egypt Blaque Knyle to “Whole Lotta Love”, which I adore. However, I have very few opportunities to perform it because of our usual aesthetic. So I took the costume and choreography and adapted it to a more appropriate song. And thus “NightMina” was born…

Devastasia: Moon Over Soho (The Tiger Lilies)
This creepy clown number was created by Stella Diamond and Scratch, but it never got the stage time it deserved. Devastasia brought it back to life in a disturbing way. You can be assured Devastasia was smiling almost as widely as her mask from behind it…

Betty Blaize: Me and My Shadow (Peggy Lee — Wrathskellar remix)
Betty, undressing after a show, can’t shake the feeling that she’s being watched… In one rehearsal she actually gave herself goosebumps. Scratch engineered this haunting version of the song for The Lost Girl in Wrathskellar Tales.

Scratch: Urban Legend
A terrifying trick with an apple and razor blades. I can never watch it.

Ava Fox, Electrix, Mina Murray: Herr Drosselmeyer’s Doll (Abney Park)
Betty created this for The Wrathskellar in 2011. I was concerned when I was cast because it involves some partner balancing, which I’ve never done before and the original trio involved some very flexible and/or strong people. But I had nothing to be afraid of. The audience on the other hand… there are some quite unsettling moments.

And we bid our creepy cabaret adieu for another year!

These 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.