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The Best Night out location in London on every Saturday. At Hippodrome you will enjoy full circle Performance of Miss Polly Rae's 'Boudoir' props offered by.


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The interior was taken back to hues of reds and golds, and burlesque was the theme. Cirque at the Hippodrome won the BEDA award for best UK nightclub in.


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The Best Night out location in London on every Saturday. At Hippodrome you will enjoy full circle Performance of Miss Polly Rae's 'Boudoir' props offered by.


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Then they are entirely forgotten as Sophia BonBelle , playing a mysterious belly dancer in black and purple, suddenly appears and dances before him with veil fans, stripping away her layers and eventually leading him offstage, presumably to continue their dance in private. She initially takes on a specific character as Medusa in an opening song ably sung but with a speaker-battering backing track and repetitive, laboured lyrics and rhyme , but seems to abandon it later on, coming out at one stage as an even louder, apparently drunker version of herself which just adds to the existing discomfort rather than providing comic relief. While sensual storytelling is supposedly at the heart of the show, the script is at times woefully inadequate and at others utterly nonsensical. Race and Burlesque: The curious case of the performer of colour.{/INSERTKEYS}{/PARAGRAPH} Catherine D'Lish. Notify me of follow-up comments by email. With a show of this kind where the dancers are semi-nude very early on, the presentation and revealing of flesh has to be progressively varied and interesting, unexpected and creative. Ursula Undressed: The Magic of Martinez. Tacky gold pvc and flimsy, badly fitting basques and plastic armour do nothing to boost production values, although there is the occasional improvement with some pretty embellished bras, shimmering Isis wings and floral headdresses. The soundtrack to a group number concerning water nymphs in the second half is particularly bizarre, involving a breathy, largely undecipherable voiceover and a sudden unleashing of sexual expletives, which is neither provocative, arousing or in keeping with a portrayal of Ancient Greece. Burlesque Hall of Fame Best Debut. The dancers are constantly out of sync and symmetry with each other, and the copious amounts of faux-Sapphic cuddling, jerking and limp stroking in almost every number lacks authenticity and erotic appeal. As our narrator and guide through an evening which is supposed to be sensuous and playful, The Divine Miss Em is not the ideal choice. Blackface in Burlesque. Sam Sheasby spends the first half in distinctly modern, casual clothes but reappears later in a more appropriate toga. Em initially appears in a suitably snake-like dress as Medusa, but returns later in a bland and unflattering nude slip. Her attempts at audience interaction are at best vague, and at worst, toe-curlingly mortifying. Holli is actively involved in the burlesque community on a day to day basis and is privately consulted by performers and producers at every level for promotion, critique, recommendations and encouragement. She has delicate features and a convincingly regal, pampered quality about her which makes the role ideal. Otherwise, the majority of the music makes a valid attempt to convey mythical drama and mystery. It could have been so much more. It begins with a song from Sam Sheasby, who is joined by group of girlish dancers bent on seducing him with their tambourines and nubile bodies. Sign Up to receive notifications about new articles and burlesque news straight to your inbox! The solo numbers are generally more substantial and thought out, but at times confusing. The real musical highlight, and indeed the highlight of the whole evening, is two performances by Sam Sheasby. The group numbers are formulaic, dated and largely unoriginal, consisting varyingly of flapping, over exaggerated facial expressions and Carry On style running around. The girls play the same bland and vapid personas as in every other tableau, and Sheasby and BonBelle make little attempt to convey sexual chemistry or genuine interest in one another; he strolls offstage after her without a hint of passion or urgency. Angie Pontani: From Showgirl to Showmom. {PARAGRAPH}{INSERTKEYS}In reality, this journey through myth and legend is an amateurish, confused affair in need of considerable development. She gives an energetic display of contortion, twists and leaps which make a committed attempt to match the drama of the original soundtrack, but her face is expressionless throughout and her floor work segment is entirely lost beyond the first row of tables. Vanessa VaVoom performs a solo as Athena, wielding a thick branch in place of a more obvious weapon, which seems a bizarre choice. Initially introduced in the guise of Orpheus and accompanying himself on guitar, he delivers two soulful, heartfelt ballads which earn grateful and enthusiastic applause from the audience, creating the only authentic and emotive moments during the show. Notify me of new posts by email. One group number in the second half presents the possibility of better storytelling, greater character development and convincing interaction between cast members. The standard of costume also presents issues from the start. What has potential on paper is disappointing in reality. There is also a duet from Sam Sheasby and Emerald Windsor in the roles of Hades and Persephone respectively, but the number falls flat, with fumbled clothing removal, a shaky lift with a heavy landing, and an overall lack of intensity. The goddess Hestia, performed by Eivissa Rose , is announced as a virginal goddess of the hearth and home, but the routine seems to focus entirely on the hearth: a goddess in gold with shimmering Isis wings, complete with fire torches which are briefly waved around and then gone why bother?