vaudeville

Bliss Bodice and Bamboozlement Bloomers

admin — Wed, 01 Jul 2009 09:39:00 +0000

That which is covered or veiled in chiffon, silk or lace can intrigue more frequently than the rawly exposed. The scene that continues once the screen fades makes me smile more than any clinical documentation. (Obvious, boring, lacking subtlety...) Also, most agree that some sort of underwear is a practical necessity. Under the Root offers comfortable and charming designs of historically inspired but contemporary coaxing clothing. All items are hand-made, custom, made-to-order vintage reworkings that are not your corporate-endorsed inflatable Stepford silicon lingerie by any stretch of the imagination. And referring to 'clothing' and 'imagination' in the same paragraph is a delightful change. Inspirations include the burlesque, cabaret, can-can (not Cancun), circus, vaudeville (not Victoria's Secret), theater and stage.

I was reminded not only of literature, but also Toulouse-Lautrec's sketches and paintings of the female performers of Montmartre, such as the The Clowness (1895), depicting Cha-U-Kao. Despite their relative rarity in the rings, women have clowned throughout history, from Dorian Mimes in ancient Greece, to the 'Glee Maidens' of Medieval England. The seventeenth century French court jester Mathuine is credited with a joke used in circuses well into the 19th century: she was escorting a woman in to see the King when the lady sneered, “I don't like having a clown on my right side.” Mathuine promptly stepped around her and replied, “I don't mind at all.” I have no doubt that the “Tinker Bloomettes”—flamboyant elaborate pleats of turquoise and magenta—would have flattered her and could also wear well on stage today, or at a more private locale. Drama queens of any gender can invest in some arm spats.

The Bliss Bodice and Bamboozlement Bloomers are made of 'repurposed' butter-yellow ribbed cotton jersey and are trimmed with narrow dove gray lace. The straps are black grosgrain. If you favor petroleum-based buttfloss, that's your business, but if you're looking for something interesting to look at and delightful to wear, seek it 'Under the Root.'

Photo depicts Banniki Bloomettes by Under the Root.

Written by: Erika Mikkalo, July 1st 2009

Chicago: The Musical (4/1/2009)

admin — Sat, 04 Apr 2009 16:36:00 +0000

National Theatre

Washington, DC, USA

A few years ago, I took my two twenty-something nieces to see the Oscar-winning movie Chicago and was aghast at the plot. I thought, to borrow their words, “OMG!” Surely, my nieces would tell my family their “radical” aunt took them to see a movie where women imprisoned for killing men belt out, “He had it coming!” while doing the fiery Cell Block Tango. But as the story unfolded, it became clear to me that this movie was not about gender as much as it was about corruption and greed. Relieved, I sat back and enjoyed the Hollywood production.

Being a fan of the movie and soundtrack, I was delighted to review the musical when it came to Washington, DC. Now, DC is known for its history, not its theatre district, so it should come as no surprise that Chicago is only running for a limited engagement of two weeks at National Theatre, America’s oldest playhouse (operating since 1835). Congress gets a longer vacation time that that.

But onto another city: Chicago. It’s the 1920s. It’s the Jazz Age. The time for razzle-dazzle decadence and, some would say, moral decline. Roxy Hart is imprisoned for killing the lover who tried to walk out on her. Her naive husband refuses to take the rap once he learns the guy sold them their furniture… at a discount.

Chicago is actually based on a true story about two women Beulah Annan (Roxie) and Belva Gaertner (Velma), who were both charged with murder in 1924. Annan, at just 23 years old, was accused of killing an intruder in April of 1924. Desperate to get off, she feigned pregnancy and received sympathy from the media, the public, and apparently, the jury. She was found innocent. Gaertner was accused of shooting her husband in May of 1924 and also managed to avoid conviction. The two slick lawyers that worked these cases form the character Billy Flynn.

The stories of jazz age women being hauled off to jail for murder provided sensational headlines. One Chicago Tribune reporter (Mary Sunshine) turned her stories into a comedy called Chicago. Its timeless theme would lend itself to the big screen three times: in 1928, in 1942 with Ginger Rogers, and in 2002 with Renee Zellweger.

The theatre version, which began in 1996, has little need for props. It was the orchestra that sat on the stage, interacting with the cast at times in hysterical vaudevillian manner (Said to the conductor: "Is that all you do, just stand there and wriggle that stick? You know, if you played an instrument, they’d give you a chair.") Indeed, the stage as well as the costumes were minimal in keeping with history. The performers took precedence and created selfless or selfish, slick or naive, sweet or deceptive (or both) characters right before your eyes.

For sure, John O’Hurley’s performance as Billy Flynn exceeded the audience’s expectations of the man that plays Seinfeld’s Mr. Peterman. His delivery and timing were impeccable. Also providing exceptional performances were Charlotte d’Amboise as Roxie and Terra C. MacLeod as Velma. Both portrayed women seeking not only freedom, but also fame upon their release—as if freedom were not enough! And, Carol Woods gives a stellar performance in her role as Matron “Mama” Morton, one of the many characters exploiting the “justice” system.

Justice may not have been delivered in Chicago-the-city but a wonderful and often outrageous portrayal of history is bestowed to audiences in Chicago-the-performance. The cast received a much-deserved standing ovation. “They had it coming,” after all.

Written by: Joan Dawson, April 4th 2009

Arco Iris

admin — Sat, 05 May 2007 19:31:00 +0000

By Skybox

Upon first listen to Skybox’s single “Various Kitchen Utensils,” you feel transported into the center of a 1920’s silent comedy, or perhaps something starring Buster Keater. The unique pairing of rock music with the sound of old-time vaudeville somehow manages to blend seamlessly and makes for an interesting and fun sound that leaves you wanting more.

If indie rock has a flaw it is that it often takes itself too seriously, but Phoenix-based Skybox has found a way to keep all of the joy and edginess of indie rock without losing their sense of humor. This is apparent just by taking a look at the tracklisting for their album Arco Iris and seeing songs with titles such as “Superglued to My Spaceship” and “Disco Duck.” With their inspiring use of disco and jazz sounds throughout their record, one thing Skybox could never be called is ordinary. Upbeat and creative, there is a little something for everyone in Arco Iris.

Written by: Anne Corrigan, May 5th 2007