The Bod of Avon

Dear Constant Reader,


Please vote for The Boston Babydolls every day!

Once upon a time, in a different medium, I used to write up show reports. It was much easier when we did simple revues and not full length shows, often with plots. Still, it was a good habit and I’m going to get back into it. Here, Gentle Reader, without Much Ado, is the set list and a little commentary about The Bod of Avon.

All of the acts in this show were inspired by a work by William Shakespeare. Note I say “inspired”, or as Scratch said “interpreted through a burlesque-shaped lens” (insert appropriate hand gesture here). We weren’t recreating scenes from Shakespeare.

As I’ve mentioned before, we had to keep a minimal set for this show because of the requirements of the venue, so each act had a video projected on the back wall in lieu of scenery. Some of them were quite clever.

All of the photos were taken by Hans Wendland at our second preview at Oberon.

The Bod of Avon

Scratch, Ginny Nightshade, Lara Pollack: Introduction
In the darkness, they recited opening lines from Shakespeare plays, some famous, some more obscure.

Evie Sphinx, Stella Diamond, Ginny Nightshade, Lara Pollack: Henry V (“Drink Up Me Hearties” from Pirates of the Caribbean: At World’s End)
King Evie fights battles, receives her crown, and knights her loyal followers, all while shedding clothing and armor. Black-clad Stella, Lara & Ginny play the opposing army, Evie’s subjects, and scenery.
Video: The St. Crispin’s Day speech, in a Star Wars-style crawl

Mina Murray: The Tempest (“Green Sleeves” by The Musicians of Swanne Alley)
This act was several years in the works and I’m so glad to finally have presented it. I originally thought of myself as being Queen Titania, but we already had a Midsummer act, so I became Ariel. It was a toss up between that and Queen Mab from Romeo and Juliet. There’s no shortage of faeries in Shakespeare. I’m really happy with this costume, which came out pretty much as I wanted. I have to thank Jeff McBride for the magic coaching and suggestions that formed the core of this act.
Video: Butterflies

Stella Diamond: The Taming of the Shrew (“I Hate Men” from Kiss Me Kate)
We certainly weren’t the first to re-interpret Shakespeare. We had to pay tribute to the great Kiss Me Kate. (Seriously, songs by Cole Porter? We’d have been fools to ignore that opportunity.) Stella’s got a great Broadway voice and excellent comic timing. She lounged against the bar, insulting male patrons as she sang. None of them seemed to mind.
Video: none (the stage was dark as the crew quickly cleaned up my mess.)

Betty Blaize: Antony and Cleopatra (“Melancholy Serenade” by Tommy Dorsey)
Betty’s tribute to the Queen of the Nile, longing for her Antony. There’s no striptease, but who cares — Betty dances with a sword. She routinely stunned the audience when she balanced it on her head and then slid into a low lunge and down onto one knee (while wearing high heels, no less). I love Betty’s costume for this, which I suspect was made from one of the many saris she brought back from India. Scratch introduced her as a performer with “great pyramids and a killer asp”.
Video: The pyramids at Giza

Brigitte Bisoux, Lara Pollack, Scratch: Sonnets (Sonnet 29/”Summertime” by Scarlett Johansson/Sonnet 18)
We couldn’t present a tribute to Shakespeare without acknowledging his work as a poet. Brigitte wanted to present a modern dance to a spoken word piece, so everything worked out nicely. Lara recited the first sonnet (“When, in disgrace with fortune and men’s eyes”, then there was a little musical interlude, and Scratch read the second sonnet (“Shall I compare thee to a summer’s day”). Poetry in motion, Scratch called Brigitte.
Video: A beach scene

Devora Darling, Ginny Nightshade, Mina Murray: Macbeth (“Pantaloons” by Tape Five)
We were the Three Weird Sisters, only cuter. Devora had a magic wand that forced us to take off our clothes. When we joined together against her, the wand wouldn’t work against its owner and we had to rip off her clothes the old-fashioned way. Many thanks to Scratch for building us a wand that would come apart into 3 sections on cue.
Viedo: A montage of witches from the Middle Ages to the present day

Intermission

Betty Blaize, Devora Darling, Ginny Nightshade, Mina Murray: A Midsummer Night’s Dream (“Yes Sir! That’s My Baby” by The Firehouse Five Plus Two)
We had 2 couples running away into the woods, but sadly, both the guys wanted Hermia (Ginny) leaving poor Helena (Me), sad and unwanted. But I upstaged everyone in the end! Most amusing part of this act was Betty & Devora in white suits, kind of like the one Scratch was wearing to host.
Video: A forest (just outside of Athens)

Scratch: King Lear
Scratch tells the story of King Lear using 3 cups (to represent the 3 daughters), one of which is concealing the serpent’s tooth (a very sharp, 6-inch long metal spike). Cordelia (an audience member) mixes up the cups and then Scratch, demonstrating Lear’s willful blindness to his daughters’ treachery, smashes his hand down on one of the cups. One of the empty ones. Then to represent Gloucester’s actual blindness, he dons a blindfold and with Cordelia as his guide, chooses between the remaining cups. He says that the difference between a comedy and a tragedy is often one character making a decision — the wrong one and it’s a tragedy. The right one? *SMASH* All’s Well The Ends Well. This is a very tense piece with the actual possibility of injury and I find it hard to watch.
Video: none

Brigitte Bisoux, Butch: Twelfth Night (“The Object of My Affection” by The Stolen Sweets/ “Roller Coaster Blues” by Diana Dors)
Brigitte & Butch dance adorably together until Brigitte goes in for a kiss and comes away with Butch’s mustache. Butch is slowly revealed to be Stella! Everyone’s favorite moment is when Brigitte reaches into Stella’s jeans and pulls out a couple of long socks knotted together. From backstage we would hear this huge swell of laughter and know they had just revealed The Dick Sock. Everyone loved The Dick Sock.
Video: Illyria High School

Devora Darling, Evie Sphinx: Danse Apache (“The Disillusioned Guitarist” by Zum)
I’ll be honest with you. This act wasn’t actually inspired by Shakespeare. Evie & Devora created it for The Wrathskellar, but Devora wasn’t able to be a part of the show, because of several broken bones. They planned to perform it at the Marathon, but a week before, Evie broke her foot. (From now on everyone gets bubble wrap suits.) It was just too good to allow to go fallow, so Scratch put it in this show. He thought about making it our tribute to Richard III (“Was ever woman in this humour wooed? Was ever woman in this humour won?”), but decided to use it to show the power of the sort of simple stage devices Shakespeare would have used and how the audience was willing, nay, wanted, to believe. Special thanks to Richard Gilbert of R&D Choreography for the violence.
Video: Red velvet curtains

Ginny Nightshade, Scratch: The Merchant of Venice
Scratch says that during the research for this show, he found a reference in Pepys’ diary to a scene in The Merchant of Venice which did not appear in the First Folio. He and Ginny recreate that missing scene. It’s actually an old burlesque comedy routine, known as “Post Office”. Yes, it’s old and corny, but still fun.
Video: none

John J. King, guest singer: Hamlet (“Ophelia” by John J. King)
From Denmark With Love, a James Bond/Hamlet mash-up opens in May and we thought it would be appropriate to give our audience a sneak preview. Creator John J King and a roster of lovely singers presented “Ophelia” (to the tune of “Goldfinger”). The picture shows Emily Hecht, but we were also graced by frequent Babydoll songbird Alissa Coates and a couple of others whose names I can’t remember right now.
Video: “From Denmark with Love” image

Betty Blaize, Brigitte Bisoux, Devora Darling, Evie Sphinx, Mina Murray, Stella Diamond: Finale (“Is You Is or Is You Ain’t My Baby” by Joe Jackson)
As the show began, so did it end, with disembodied voices quoting Shakespeare. This time they were asking questions (“Is this a dagger I see before me?”) occasionally peppered with the title of this song. I will confess, this act didn’t have much to do with Shakespeare. It’s been the finale to our last couple of Valentine’s shows and we like it a lot. Sometimes Scratch sings it for us, but he got a break this show. And we got new parasols! I do like the mix of colors; it makes us look even more like a flower garden.
Video: Flowers

And that, Constant Reader, was The Bod of Avon and we hope it was done As You Like It.

M2

Published in: on 25 February 2013 at 3:20 pm  Leave a Comment  
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The Bod of Avon Opens

Dear Constant Reader,

Here’s your daily reminder to nominate The Boston Babydolls for Best Burlesque. You can vote once per day per email/IP address. Thank you.

Yesterday I told you how we set up the venue for a show. The audience is sitting on chairs or benches, or standing along the bar. There’s a narrow aisle between the seating area and the standing room so the performers can get from the dressing room at the back of the room to the stage and back again. Also, when the stage lights are off, it’s very dark.

Opening night, we’ve just concluded the opening number of Act II (a humorous foursome inspired by A Midsummer Night’s Dream) and I am gaily skipping back to the dressing room when — WHAM! something strikes me in the shins and I fall forward. Ginny, directly behind, nearly goes down on top of me.

Someone, desiring a better view, had moved their bench so the end of it was sticking way out into the aisle.

I have a charming bruise right below my right knee and another one slightly further down my shin. I collided so hard with the bench, it took several days for them to come to the surface. Since I am not that sort of girl, I will not regale you with pictures of my injuries. Instead, I will share some photos that were taken at our second preview at Oberon. Have fun figuring out which plays inspired the acts!

All photos by Hans Wendland.

AS561 - 06

King Evie in action!

AS561 - 18

Mina, Queen of the Fae

AS561 - 40

Stella sings of how she hates men

AS561 - 44

Betty and her pyramids

AS562 - 09

Devora causing toil & trouble for Mina and Ginny

AS562 - 29

Brigitte & Butch

M2

Published in: on 5 February 2013 at 9:55 am  Leave a Comment  
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Getting Ready

Dear Constant Reader,

Here’s your daily reminder to nominate The Boston Babydolls for Best Burlesque. You can vote once per day per email/IP address. Thank you.

It’s been a while since I actually told a tale of how glamourous my life is. The Boston Babydolls are currently performing The Bod of Avon at Naga. Naga isn’t a theatre; it’s a nightclub. This is important.

You might expect that before a show The Babydolls retire to their private dressing room to nibble delicacies, sip champagne, and make ourselves gorgeous at dressing tables with those mirrors with the lights around them.

Here’s the reality. We (performers, tech crew, ushers & other volunteers) show up at Naga about 3 hours before the show. The space is in nightclub mode with padded benches and low cubes they use as drink tables all over the main space and stage. There are huge leather couches in the VIP area at the back of the room.

We clear everything off the stage, except one bench that we’re using in the show. We move the biggest couches onto the floor. We move all the white cubes up into the VIP area and line them along one wall under some light fixtures — that’s our makeup station. We sit on the floor & use little personal makeup mirrors.

Someone unlocks the basement in the building next door and we start hauling our stuff out and bring it over. (Did I mention it was snowing last night?) Stuff consists of everyone’s personal gear (makeup cases, dance bags, hat boxes, &c), 2 trunks and one box of costumes, a small table (a set piece), a clothing rack & hangers, props that are too large to fit in the trunks, microphones for the performers, headsets for the techs, pipe and drape, and probably more that I’m forgetting.

Then 75 chairs and half a dozen cabaret tables. This all goes up a flight of stairs, down a flight of stairs, over to Naga, up a few more stairs, into the venue proper.

Some people set up the chairs, couches, benches, little drink tables, and cabaret tables, wondering how the heck we are going to squeeze so many people in and make sure they have a good view. (I believe the venue exaggerated their seating capacity, but we sold the tickets so we’ll make it work.) Some people set up the pipe & drape in the VIP area to make us a dressing room and make sure all the costumes and props are organized. During all this Hunter is setting up the audio, video, and lights.

Once that is all set up, then we can warm up on stage, do hair & makeup, have a little snack (the folks at Moksa, the restaurant attached to Naga, have generously been providing some scrumptious light refreshments), and be dancers instead of roadies.

After a normal show, we hang out with our fans, pose for pictures, and hawk merch. These shows we have 30 minutes to reverse everything we did a mere few hours before. Fortunately we have some of the Naga staff to help move the seating around and schlepp the chairs back to the basement. We performers pack up the dressing room and dismantle it. You’ll hear cries of “Act One packed?” and a chorus of “Yes!” followed by the trunk latching or “Everyone dressed?” with a positive response means that the pipe & drape starts to come down. We bundle into street clothes and start hauling all our stuff back to the basement.

Then the drinking begins.

Tomorrow I shall tell you a bit about the show itself. I know you’re breathless with anticipation. I might also have a special treat for you.

M2

Published in: on 4 February 2013 at 11:03 am  Leave a Comment  
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Saluting Bettie Page

Dear Constant Reader,

Salute to Bettie PageSaturday was a flurry of activity in Babydoll Land. We were hosting a very generous Kickstarter backer for dinner and performing in the 3rd Annual Salute to Bettie Page. Simultaneously! Babydolls can be in two places at once (since there are 7 of us…)

Scratch already wrote about the fabulous feast. Go read it and come back here to read about the show.*

Just as the kitchen at Babydoll Manor was in full swing, Brigitte arrived in her adorable yellow sports car to whisk us away to Providence. I had the pleasure of modeling in the first Salute, but had to miss last year because of our tour schedule. It was Brigitte’s first time. And we were performing burlesque as well.

On our arrival we found BettySioux Tailor, as usual, humming around doing a thousand things. She pulled a couple of outfits for us to try on and made the pick. Brigitte got a red bustier and slinky pencil skirt for her first look and a blue leopard bra and retro-style garterbelt for the second. Quite hot, I must say.

I had a cute pink and orange sundress for my first look and the world’s most uncomfortable clear plastic heels. They looked good, especially with the pink bows on the toes but I was so glad to get them off. For my lingerie look, I really loved a sheer black bra & tap pant set with attached purple rhinestone pasties, but the bottoms weren’t cut right for me. Instead I wore an adorable sailor bikini with an anchor appliqued on the butt. Yachting cap included.

We all wore Bettie Page wigs for the fashion show. Brigitte had never worn one before, but BettySioux took a few moments out of her busy evening to make sure it was on just right. We also had the luxury of having stylists do our makeup. Such a treat!

I do hope someone got pictures — I had left my camera with Scratch.

There were some fine performances. BettySioux led off the night with a classic-style bump & grind with fantastic facial expressions. Corrine Southern performed a tribute to Bettie Page’s iconic Playboy photo, complete with Christmas tree. Acacia Spinstress amazed me with her skillful hooping (3 hoops!).

And then it was our turn. We performed “Mistress & Maid” from The Wrathskellar which was partially inspired from Bettie Page and Tempest Storm in Teaserama. Brigitte wore her Bettie wig, which just added to the fun. It went over very well. Girl/girl spanking always does.

Part of the Glamourous Life is making sure you leave with all the costume that you arrive with. I realized my bra was not in my heap of clothes. I knew what had happened: I drape it over the screen that I change behind during the act and it was probably still there. You can see it in the above picture.

Except the screen was now gone from the stage. After frantic hunting all over the club, we found it neatly folded up on the other side of the stage, with my red satin bullet bra neatly folded up inside it.

After saying goodbye and receiving some lovely goodie bags (that BettySioux is such a doll!), we headed north. Babydoll Manor was quiet and restored to pre-feast order. They’d even saved me a piece of Charlotte Russe.

It was a great night, tons of fun, and the audience appeared to have a blast. We’re already looking forward to next year!

* [EDIT] The blog post has disappeared with the old Babydolls website, but for posterity, the grand menu was:

Zakuski platter
Herring in dill sauce
Cheese spread
Black bread
Pickled onions
Mushroom salad
Vodka

First Course
Blini with dill, sour cream, chopped hard boiled egg, and caviar

Second Course
Cold cherry soup

Main Course
Kasha with mushrooms
Roasted cabbage
Carrot and cumin salad
Fried bone-in chicken breasts with garlic sauce, sour plum sauce, and walnut sauce

Dessert
Charlotte Russe

P.S. Please nominate me for The MacGyver Award (for the performer who can fix any costume malfunction anytime, anywhere, and with anything) at the Golden Pastie Awards! Nominations close September 3rd.

Published in: on 28 August 2012 at 11:14 am  Leave a Comment  
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Martha’s Vineyard

Dear Constant Reader,

On Wednesday we performed at the Sand Bar in Oak Bluffs as part of their Full Moon party. We were only on the Vineyard for about 18 hours, but they were terrific ones.

We arrived by ferry in the late afternoon and unloaded our trunk of costumes at the venue — fortunately very close to the ferry dock, because of the aforementioned trunk of costumes. Figured out where we were going to perform (indoors or out) over a delicious dinner. They’re supposed to have the best sushi on the Vineyard. Betty & Devora thought it was rather amazing. Scratch and I were more traditional with a lobster roll and crab cakes, respectively.

hotelThen went to the hotel to rest before the show. Our contact at Red Bull had booked us into the Wesley Hotel. I had seen the building from the ferry and fantasized that it was our hotel, but knew we couldn’t get that lucky. But no, we did. I should have known from the sign that I was expected to stay there. sign

The show was what I think of as a typical bar show: less than optimal performance space with less than optimal lighting, using the manager’s office as a dressing room, &c. But we’re used to that and made the best of what we had.

Our first set was classic burlesque. Devora danced to “Blue Prelude” with her new blue boa (which she named Grover), Betty performed to “Night Train”, her standard, and I did a fan dance to “Harlem Nocturne”, my standard.

Then we changed both costumes and mood for the second set, a sampling from The Wrathskellar. I started with Mackie Messer. Devora and Scratch did Creepy Doll, and Betty performed her Knife Dance.

A photographer from a local magazine was snapping away and said it was the best show he’d seen. The manager seemed pleased, so maybe the bar will book us again. We’d love to come back.

cottageWe were staying on the edge of the Campground and in the morning I strolled around taking pictures of the fabulously painted gingerbread cottages. Each one was wonderful — the use of color, ornate woodwork trim, architectural details. I was inspired to embellish Stately Babydoll Manor just a little bit more. While not of the same vintage as these, it’s still technically a Victorian house.

After a nice breakfast, we had just enough time for a ride on Flying Horses Carousel, the oldest carousel in America. It’s quite beautiful and relatively recently restored. The horses don’t go up and down, but you do get to try for the brass ring! I was so excited since I thought there were no carousels left with rings.

Every time you go around, you can try for a ring, which are just ordinary metal, held in a wooden arm. There’s one arm for the outside horses and one for the inside horses. There’s a spike sticking up out of the horse’s head on which to stack them. During the last round, they announce that the brass ring is in the mix. And I got it!

We didn’t have time for my free ride, but that was okay. Really, just getting the ring was a huge thrill and the ride would have been a little anticlimactic. I bought a souvenir brass ring instead. It makes me smile every time I see it.

On my way out, one of the carousel attendants politely asked if I was a burlesque performer. He’d seen me, not at the Sand Bar the night before, but at The Devil’s Carnival in Boston. Fame!

Another smooth and quick ferry ride back and our whirlwind trip was over.

Published in: on 2 August 2012 at 5:23 pm  Leave a Comment  
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Late Night Fun

Dear Constant Reader,

Yesterday was gorgeous here in Boston, sunny, clear, and just warm enough. Scratch decided it was just the right day to put in an arbor to support the grapevines that are taking over the back fence at Stately Babydoll Manor and escaping. Somehow this planning involved lunch at a little deli with enormous sandwiches. As we were enjoying them on the patio, Scratch got a call.

Short version — The Devil’s Carnival was playing at The Coolidge Corner Theatre and they wanted an burlesque act to open things up. Yes, I would. How about a fan dance? Back to Stately Babydoll Manor to prepare (with a pause for the installation of the grape arbor).

I thought the best fit for the creepy carnival theme from my fan dance repertoire would be “Toccata und Fuge in D Minor”. You know it: it’s the Phantom of the Opera organ music. I spent the afternoon rehearsing it.

As the show was at midnight, and I’m not much of a night owl, I took a nap. Upon rising and starting to get ready for the show, Scratch had decided, having seen clips of the film, that the fan dance was not the best fit and I should do “Macker Messer”. (It was my opening act for The Wrathskellar last year). Well, never let it be said that I’m not flexible. I put away my fans and packed up my “Mackie” costume (top hat, tail coat, switchblade, &c.)

I must say the screening was an impressive event. Many people there had seen the film before (and were singing while they waited) or were fans of Repo! The Genetic Opera (from the same creative team) and there were lots of costumes. Once the regular ticket holders were let in (there was a private Q & A for some VIPs first), the theatre filled up fast and things got started.

Their adorable MC introduced Scratch who introduced me. I’m always a little worried about “Mackie” out of context. It’s so deadpan and pretentious, and the song is in German. Scratch gave it the proper warm up: “Are you ready to be ignored by a beautiful woman?” And away we went. The crowd loved it.

Now we could relax and enjoy the festivities, like a short film about the making of Repo!, a costume contest with some pretty elaborate entries, and a Q & A with the creators.

The movie itself is quite good and so are the songs. It would definitely appeal to fans of The Wrathskellar. Although it is obviously a carnival while we are a cabaret, there’s a kinship in the aesthetic. In fact, when handing out leaflets afterward I told people just that: “It has a similar feel, only more boobs.”

Published in: on 22 July 2012 at 11:30 am  Leave a Comment  
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Wham Bam KaBOOM!

Dear Constant Reader,

Friday night we had a delightful treat. Mod Carousel, the boylesque troupe from Seattle, finished their transatlantic tour with a show in Boston, produced by our own Mr. Scratch. It was so wonderful to just sit back and watch someone else’s show for a change.

And what a show it was!

Mod Carousel consists of dancers Paris Original, Trojan Original, The Luminous Pariah, and the hostess and chanteuse, Leeni.

Wham Bam KaBOOM! is the story of our three superheroes (an excellent excuse for them all to wear Spandex) as they battle to defeat the supervillain (an evil radioactive swan, called, creatively enough, Evil Radioactive Swan) who has taken control of Leeni! Can they save humanity from destruction? Of course they can — they’re superheroes!

The show is extremely funny, the guys are amazing dancers, and Leeni does some great celebrity song impersonations. I couldn’t even begin to describe it in this epistle. So, I won’t. I’d say go see the show, but unless you’re going to be in Alaska in a couple of weeks, you’re out of luck.

All the Babydolls came away from the show quite inspired in different ways. Personally, I am in awe of Paris’s ability to work with stretch fabrics (a bane of mine).

Some favorite moments:

* Paris’s ballet. Just breath taking. I was absolutely mesmerized by the beauty of it. This was a really loud, cheering audience but we fell almost completely silent during this number.

* Luminous and the fish. His body language and facial expressions were so strong. And can he ever dance in heels.

* Trojan the Barbarian. Strength *and* flexibility. And humor. A lot of it. (By the way, if you were at the show, you know what this means — the jar of pickles was from the pantry at Stately Babydoll Manor.)

* Leeni as Bjork. She nailed it. And later as Cher, getting the audience to belt out “Do You Believe”.

* Luminous and Paris had this duet… there was no stripping, but it was one of the sexiest things I’ve ever seen. And there was partner balancing and general defying of physics.

It was Mod Carousel’s first appearance in Boston, but I think not their last.

Published in: on 10 July 2012 at 12:02 pm  Leave a Comment  
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Tour: Saratoga Springs

Dear Constant Reader,

This past weekend we took A (Re)Movable Feast to Saratoga Springs, NY. Why there? It’s the home of April March, The First Lady of Burlesque, and it was her birthday weekend. She graciously agreed to be our special guest star.

We arrived at the venue and found this:
upstairs

It was an old church and it is just as cavernous as it looks. The stage was probably about 4 feet high and the hall could have easily sat 700 people. Our intimate show was going to be lost in the vastness. Add to that, the dressing room was on the other side of the building and down a narrow and twisty set of stairs.

Fortunately, there was a rehearsal hall downstairs, which looked like this:
before

When we got done with it, it looked like this:
after

We brought in all of that gear ourselves. Okay, not the chairs; we rented those. But the lighting and sound equipment, the pipe & drape, the tables & cloths, and, of course, our costumes, set pieces, & props. Your Kickstarter dollars at work.

And we set it all up ourselves. There are no divas (not even me) amongst the Boston Babydolls during load in and strike. We were on a tight schedule Friday afternoon. We started around lunchtime and finished with just enough time to rehearse the show. I think rehearsal ended literally minutes before the house opened. Everyone worked hard to turn that bare hall into a theatre.

We had a great time performing with our special guests BettySioux Tailor, Mimi Mischief, and of course, April March. There was also shopping, drinking, and museum going, but that’s a missive for another time. I have a lot to do before The Dollhouse tonight!

Published in: on 21 June 2012 at 9:42 am  Leave a Comment  
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Victory Party 5/17/12

Dear Constant Reader,

On Thursday last we threw a little soiree to celebrate our third Best of Boston from the Phoenix annual readers’ poll. It was also the kick-off for our new monthly showcase, The Dollhouse, at The Estate (a nightclub in Boston, not to be confused with Stately Babydoll Manor).

It was a grand time. There was fantastic food (or so I’m told — I was still under the weather) from Lizzy’s and Foundry. We had a tea-cup raffle (you put your raffle tickets in a cup by the item you want) with great prizes from a lot of terrific local businesses & artists, like (I know I will forget some): Fluevog, The Fox Affect, Muscular Solutions, John Chaos, Trials of Love, Chris McIntosh, Redbones, and Veve (I put all my tickets on this one).

We had some performances from special guests Vikki Likkerish “The Gift that Keeps Getting Unwrapped” and turquoise-haired beauty BettySioux Tailor as well as go-go dancing from The Boston Babydoll Interns.

To top everything off, we re-assembled the Unluckiest Band in the World (mostly — we had a new drummer) and the Amorettes from Unlucky in Love and reprised a few favorites.

Evie opened with a brand new dance to “The Man with the Golden Arm”. Then Stella sang “Ain’t Misbehavin'”. Betty performed her mesmerizing Loie Fuller inspired act to “Someone to Watch Over Me” while Alissa sang. Then Alissa sang “The Man I Love” for Devora (and partner). All 3 ladies sang their version of “If I had a Million Dollars”. Lastly Imani (and the other two backing her up) sang “Jezebel” while I did my fan dance.

Thank you to everyone who voted for us and who came to the party! We’ll see you back at The Estate next month for The Dollhouse!

Published in: on 22 May 2012 at 10:23 am  Comments (1)  
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In Action

Dear Constant Reader,


Vote for the Boston Babydolls!

I’m very excited to share this treat with you. This potentially NSFW treat…

I’m dancing on the back of the banquettes in the VIP area at Oberon. Orignially I was a little concerned about having mirrors behind me, but I think it enhances the performance. I’m very happy with the fans, which were custom made just for this act.

Published in: on 7 March 2012 at 10:13 am  Leave a Comment  
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