Reviewed by Barry Lenny, Saturday 20th February 2016
In the Garden of Unearthly Delights there is a production that, for once, actually seems to represent that name. In the Spiegeltent is an event titled
Jaded Vanities that is what the Fringe is, or at least was, all about. A long time past one would see many performances that were innovative, imaginative and broke all of the rules and boundaries, and this show does all of that. This is another of those special productions from Russall S. Beattie, a master of modern Burlesque.
I suggest that it might be described as 21st Century, cutting edge feminist Burlesque. There are ho holds barred performances galore, and every moment is riveting in this highly professional, very slick, and tightly executed production. It is one of those hidden gems that turn up in the Fringe, if you look very hard through the programme, and have a lot of luck on your side, and my guest and I could not have been happier with this production.
A masked master of ceremonies appears, a beaked mask reminiscent of some Egyptian god, and welcomes us. He introduces the show as a wild and dangerous ride that will only come to a stop when he next appears to say goodbye. The very talented Anthony Howes is this remarkable character, and several others, changing masks and fluidly slipping from one distinct characterisation to another to introduce the many acts that follow.
The first act is Kiki Coriander, portraying a lady at her toilet, no, not toilette, an actual toilet. The claim of a wild ride ahead is confirmed immediately in this powerful visual statement. This is not about blatant sex and idle titillation, there will be no fan dancers and corsets, this is complex eroticism with an agenda that is designed to challenge and provoke meaningful thoughts about the role of women in today's society. That theme runs through the whole production.
Later, she joins Natalya Alessi and Asher Bowen-Saunders as a trio of Sirens, sensuously washing in unison. Bowen-Saunders has a solo performance at the dark end of the spectrum, wearing elaborate claws that make
Edward Scissorhands look positively normal. Alessi becomes a doll in another fascinating and challenging solo performance. Flora takes a mud bath that is dangerously on the edge, more like a creature of the mud than a human being writhing in it, and she has another contrasting solo in a bright pink tracksuit.
There is also a male performer, Bray, who does some very classy work on the double ribbons, up, down, twisting, turning, combining a finely-toned body and very stylish moves. My lady guest was most impressed.
All of the performers are highly skilled, trained dancers, and as flexible as any contortionist, and they are all actors, capable of portraying a wide range of characters. This production is only possible because of these multi-talented performers and their incredible imaginations.
"A bag over her head" takes on a drastically different meaning in the hands of two of the performers, while another wears a box, and another appears with crutches, and leg-irons, recalling the days of debilitating poliomyelitis, but looking like an exoskeleton at the same time. There is just so much going on but only seeing this thrilling production will let you fully understand what it is all about. This is a genuine Fringe event, out there on the edge of the fringe where you should also be. Do not miss this stunning production.
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