Cabaret New Burlesque
a production Le lieu unique, national scene in Nantes / Kitty Hartl
artistic direction Kitty Hartl
Kitten on the Keys
Mimi Le Meaux
Julie Atlaz Muz
"Do you want the real thing, or are you just talking?" (the Cramp)
Forget the Folies Bergère, this is the Cabaret New Burlesque. Nude girls galore, but no porcelain dolls. Ferociously funny, extremely rock′n′roll, spicy, accomplished singers, and heirs to a long and rich American tradition, the savvy performers of the Cabaret New Burlesque are among the best in the business who, through sauciness and excess (in language and body), know how to find elegance and poetry in the absurd. Mesmerized spectators won′t soon forget the grace and charm of numbers by Julie Atlas Muz, Dirty Martini, or Kitten on the Keys.
The burlesque, descending from the vaudeville in the second half of the1800s, is a kind of parody of the show which originated in Victorian England and was subsequently imported to the United States: a mockery of the world, customs and pastimes of the aristocracy and wealthy industrialists to entertain the lower classes.
stalls and stalls box €40
I, II and III circle box €30
There is a plot, however slight, in the songs, the dance numbers, lots of comedy. The genre became very popular and, between the ´40s and ´50s, some burlesque stars like Sally Rand, famous for her "dance with the bubble", and Tempest Storm, the protagonist of the film by Russ Meyer and Irving Klaw, become real divas.The neo-burlesque arises in the ´90s, on the wave of the fashion for the vintage culture.
The ironic feature is emphasized, but it is no longer a social revolt, but ends up being totally self-referential: it starts from the music (sometimes with the songs of the period), through to the hair (teased, colorful wigs) to the clothing and accessories. The New Burlesque is marked by humor and sensuality and presents a sequence of extravagant numbers. Contrary to the strip-tease, the sensuality turns into comedy and offers a parody of femininity itself: it is primarily an "attitude of opposition" to the established norms, conventions and female iconography which are socially predetermined. Each performer has built a character through the choice of a name, costume, choreography: she sings, dances and strips with irony. Their bodies are not those of anorexic models from fashion magazines, but they have generous shapes of Botero likeness.