Madame Mystere of New Orleans’ Fleur de Tease sits down to talk burlesque style diversity, inspiration, New Orleans Burlesque Festival, absinthe, bacon and Viva Dallas Burlesque.

By Divertida Devotchka

You’ve been a dancer since the age of three. What was your first experience with dance and in which styles of dance do you have experience?

My first memories of dance are of being in class.  I had wonderful teachers growing up; they made me fall in love with it.  We had a big recital every summer and it was something I really looked forward to, more than anything else all year.  The stage, the lights, the costumes, the dancing, the applause!  The bulk of my dance training is in ballet, tap, and jazz, with abbreviated training in modern, lyrical, clogging, hip-hop, musical theater, Irish step dancing, and belly dancing.  I love it all.

You moved to New Orleans from the Midwest in 2002, and by 2003 you had started your burlesque career. How exactly did you get started?

My fiancé and I were living uptown and our neighborhood bar was also a laundromat!  So we would go there to do our laundry and hang out and we became friends with the staff there.  One day the manager said she was going to start a burlesque troupe and wanted me to be in it, and I was like, “what’s that?”  Well, she went on to explain a bit and I thought “oh no, I can’t do that.  I can’t take my clothes off in front of people, but I’ll still come to the shows.”  So my fiancé was their stage manager and I helped with whatever I could and cheered them on every week.  After a while it became harder and harder for me to just sit and watch and NOT be onstage.  So I joined the troupe the “Steamin’ Mimis”.  My very first act was a tango inspired dance, and I only stripped down to a full corset, ruffle panties, and fishnets.

Unlike most performers who tend to stick to one style (be it classic, neo, etc.) you seem to dabble in all styles. What are your thoughts on folks who insist that classic performers should stick to classic burlesque (and that neo-burlesquers should only do neo?)

I think I HAVE touched on every style at one point or another.  If someone insisted that I should only do one style, I might think they were being a bit selfish at first, but maybe they’re complimenting me on performing a specific style particularly well.  I guess it could go either way, but I feel that it should always be up to the performer.  If you love neo, keep doin’ it!  If you’re comfy in classic, keep doin’ it!  Do it your way and have fun!  But since we’re all creative people, sometimes “sticking to” a certain style can lead to feeling “stuck in” that style.  My advice is to try each one on and see what fits, maybe all of them will.

In one Fleur de Tease dance you choreographed, you and 2 other performers do a spot on ode to Bollywood-style dancing. In another, you do a mash up of 2001: A Space Odyssey and Beastie Boys “Intergalactic,” complete with an alien dance-off. You’ve stated that your Darth Vader striptease is one of your favorite routines to perform, and you also have more classic boa/glove/gown strips to music like Ray Charles. From where or whom do you draw your influences? Do you find it difficult to come up with fresh and exciting material or are you the type that always has a million new ideas stewing on the back burner?

I’m definitely influenced by all types of dance and all types of music.  For me, most of the time a skit idea will come from a song.  Sometimes it comes from a specific costume piece, or a show theme, or a random idea that gets bounced off someone else, which is exactly how the Intergalactic dance-off came about!  Natasha Fiore (my alien cohort in that number) and I used to work together at a day job and we would throw around wacky ideas all day, and some of them stuck, like the space dance.  And I get inspired by watching my fellow performers; we have some really talented burly girls here in New Orleans!  Sometimes it does get difficult to come up with new material, I get dancer’s block, or I can’t figure out just what to do for that theme show.  But oh yes, I’ve got ideas that have been on the back burner for a while, mostly due to lack of funds.  But it’s okay, I’m hopeful that I can pull them out of limbo in the near future.

You’re performing at the 2nd Annual New Orleans Burlesque Festival’s Risque Soiree on Friday, September 17 at the House of Blues. What aspect of the festival are you looking forward to the most?

I’m really happy to be included in the fest again this year.  Last year I missed out on the daytime activities, so I’m looking forward to attending some of the classes and panel discussions.  And of course I’m excited to perform and to meet the other performers and watch them do their thing.

What other events or upcoming projects do you have in the works?

Well, I’m really excited to be heading to Dallas to perform at the Lakewood Theater on October 1st as a special guest for Viva Dallas Burlesque!  And I’ll probably be hitting the road with Tony Clifton/Comic Relief for a few dates in October as well.  With Fleur de Tease, we’re preparing for a big “Wizard of Oz” show, September 11th & 12th.  We’re gearing it towards New Orleans (instead of Kansas) so it should be fun, and we’ll be performing at the Voodoo Music Experience again this year on Halloween Day.  With the Storyville Starlettes, we’re having a show at the Shadowbox Theatre on October 24th.  It will most likely be a Halloween theme that could veer towards serial killers and/or scary movies.  And we’re planning a Facebook themed show soon, so look out!

Please share 3 little known facts about yourself.

–I once chased down a purse snatcher to retrieve my friend’s purse, even after being threatened with stabbing.

–I have love affairs with absinthe, Twizzlers, and bacon, but not at the same time.

–I can get any song out of my head by singing “Red Red Wine” to myself.  It works!

Burlesque Legend Wild Cherry talks New Orleans, burlesque revivals, and “taking it outside”.

By: Divertida Devotchka

New Orleans burlesque legend Wild Cherry grew up travelling the carnival circuit with her family, and her first performances were carnival girlie shows.  She began dancing in New Orleans night clubs in the late 1950s. “I just wanted to make a living, because I had not had any formal schooling.” explains Cherry.  Her stage name was given to her by a club owner who found it was befitting of her feisty personality. Cherry danced in various clubs throughout the French Quarter over the years and has fond memories of dancing, drinking, and of course, fighting. According to Cherry, there were certainly some clubs she didn’t stay at for very long. “I worked at some clubs with bad reputations- girls fighting a lot, and some managers even hit the girls. That never happened to me though,” Cherry said.  “Maybe because my name put them off, I don’t know.”

There’s known to be intermittent cattiness and drama in some aspects of the burlesque scene, but Wild Cherry says things are nothing like they used to be. “There wasn’t a lot of that catfight stuff. Nah, these girls were pretty rough,” Cherry said in an interview with Rick Delaup, producer of New Orleans’ own Bustout Burlesque and the New Orleans Burlesque Festival. “And if they did decide they didn’t like somebody, in theaters I’ve seen, they would take a rolling pin and a light bulb, and grind that glass up fine like a powder and put it in your face powder. They would put shoe polish in the eye mascara tube. They could get really rough. They didn’t play.”

I found the “crushed glass in the face powder” gag to be rather shocking, so when I asked Cherry about it in our interview, she casually replied, “Well, I was glad I didn’t use powder, for one thing! I used pancake makeup instead and I suppose I would have seen crushed glass in that.”

In recent years, Wild Cherry has performed in several of the Burlesque Hall of Fame weekend Legends showcases, as well as performing occasionally with New Orleans troupe Fleur de Tease, and she’s also done a comedic monologue in some Bustout Burlesque shows. She’ll be appearing again at this year’s New Orleans Burlesque Festival, where she will participate in panel discussions and sign autographs. I asked Cherry for her opinion about the current boom in modern burlesque.  “There are girls out there who are bringing back the classic style and I’m excited about that,” Cherry said. “There are troupes all over doing that now, thank God. But I’m dead set against most of the new Bourbon Street. So many girls just go on stage and stroll around begging for money. Most of them don’t even dance, and some of them may be good at working the pole, but soliciting money has no part in burlesque.”

According to Cherry, burlesque isn’t the only thing that she has seen change over the years. She was known for being “scrappy” and argumentative, and admittedly used to go looking for fights some nights as an outlet for her rage. “I don’t go looking for trouble like I used to. People who knew me before would definitely think I’ve mellowed out over the years,” Cherry said. She may be calmer these days, but the old Cherry is still in there, and is known to make an appearance from time to time, much to the chagrin of her family. “I haven’t been in a good fight in years, but I wouldn’t back down from one even today, doesn’t matter if it’s a man or a woman. A few years ago I embarrassed my granddaughter in Wal-Mart because I was threatened by two young women and I said, ‘Let’s take it outside.’ Of course, the girls backed down.”

New Orleans-based burlesque superstar Perle Noire discusses her Miss Exotic World titles, Josephine Baker, wardrobe malfunctions, and how Hurricane Katrina changed her life.

Interview: Divertida Devotchka Photographs: Shoshana, Through the Looking Glass Studio

How long have you been performing?

I’ve been performing since I could speak and walk as an actress, singer and of course I loved to dance around whenever I got the chance. Although I’m not formally trained, I still have such a passion for being onstage.

How long have you been involved with Bustout Burlesque?

I’ve been involved with Bustout Burlesque ever since Hurricane Katrina.

What made you decide to get involved in burlesque?

I fell in love with burlesque when I discovered Josephine Baker. Her story was so fascinating to me that I vowed to perform a tribute to her one day. So I started doing research on other burlesque queens and tried to find shows to audition for. The women seemed so empowered and free. I loved how glamorous and confident they looked. In New Orleans there was a burlesque musical called Backstage at Da Fonky Burlesk, and after performing in this musical I knew that I was meant to be a burlesque performer.

Burlesque is widely interpreted and means something different to many people. What is your definition of burlesque?

The definition is “to make a spectacle of” and I love that. Burlesque is not about taking off your clothes. True burlesque is about showmanship and creativity.

Tell me about your best moment(s) as a burlesque performer.

My audition for Bustout Burlesque was great because I met Dollie Rivas and Rick Delaup and that was the moment that sent off a chain reaction to my burlesque career. This moment followed winning Best Debut [at Miss Exotic World 2008] which lead me to London to perform in The Tease show with the mighty Immodesty Blaize, Kalani [Kokonuts] and Catherine D’Lish. Now I’m speaking with you as the Second Runner-Up Miss Exotic World 2009.

Do you have a worst burlesque moment or embarrassing story (wardrobe malfunction, accident, injury, etc.)?

I’ve been known to lose a pastie.

Tell me all about your experience at Miss Exotic World. What are your aspirations for next year?

I had such an amazing time at Miss Exotic World. Everyone in the community has been so helpful and kind to me. I remember when they called my name last year for Best Debut, I was in shock. It’s such an honor to perform on the stage and I still can’t believe I won at Exotic World twice. I really hope to become a burlesque queen one day.

Who is/are your inspiration(s)?

I’m so inspired by Josephine Baker, she was so ground breaking. I love to watch other performers; they inspire me all the time. I love the queens and upcoming queens such as Immodesty Blaize, Kalani Kokonuts, Catherine D’Lish, Dirty Martini and so many more.

What do you know about the history of burlesque in New Orleans, and what impact (if any) does that history have on what you do today?

New Orleans Burlesque was so vital to the burlesque scene. Bourbon Street was famous for its burlesque legends such as Wild Cherry. I’ve had the honor of performing on Bourbon Street and I’ve worked with Wild Cherry. The stories she’s told me about Bourbon Street, well you’ll have to ask her yourself.

Tell me all about the New Orleans Burlesque Festival. What are you most looking forward to about the weekend?

I’m so excited about the festival! It’s the first burlesque festival to feature a LIVE BAND! I’m competing for the title and I have to say, I’m extremely nervous. I can’t wait to watch everyone backed by a live band.

Were you there during Hurricane Katrina, and if so, what impact did it have on your life and/or your involvement in burlesque at that time? Would you say that New Orleans has now “fully recovered” or do you think there are any areas that may never recover?

I was in New Orleans for Hurricane Katrina and I lost everything. This event made me more determined to live my life and pursue my dreams because everything really can change in the blink of an eye. The New Orleans Burlesque Fest is proof that New Orleans is recovering.

What do you like to do when you’re not performing, rehearsing, etc.?

When I’m not performing I’m working on performing again. I contact shows about performing as a guest performer and audition for plays.

Anything you’d like to add?

I would really like to thank all the burlesque queens before me. Thanks for taking a chance and opening up so many doors. The burlesque community has accepted me with open arms and I’m truly grateful.

Editor’s Note:
All Photos taken at the Victorian House Bed & Breakfast on Rampart. www.victorianhousenola.com The staff was very hospitiable, the building was beautiful and has a rich history (it is over 100 years old, and after being a private residence, it had a run as a brothel beginning in the 1930s, before becoming the beautiful bed and breakfast it is today). I highly recommend The Victorian House to any NOLA visitors.

During our shoot, while sipping a vodka, sprite, and soda, Miss Perle Noir shared her infalliable Hangover Cure with me:
Two Pepto fast tabs (the melty kind, not the shaken kind) dropped into a glass of Sprite (Coke will do). Drink while still drunk, before you hit the pillow. Perle swears by it!

Story: Divertida Devotchka, Photos: Courtesy of Rick Delaup

Some of the biggest acts in burlesque will be appearing September 11 through the 13 at the New Orleans Burlesque Festival. The festival is the first of its kind in New Orleans since 2001’s Tease-O-Rama, and it’s shaping up to be one of the biggest burlesque happenings of the year. The event is boasting three nights of burlesque shows with live jazz, workshops with burlesque superstars such as Michelle L’amour, Jo Weldon and Catherine D’Lish, and panel discussions with New Orleans burlesque legends Kitty West (Evangeline the Oyster Girl), Wild Cherry, Tee Tee Red and Rita Alexander.

New Orleans burlesque has a very rich history, and I was lucky enough to discuss all of the details with Rick Delaup, the founder of the New Orleans Burlesque Fest and producer and creator of Bustout Burlesque. Delaup has almost 15 years of New Orleans burly-q research under his belt, making him a more than qualified source on the topic.

According to Delaup, the glory days of Bourbon Street burlesque were from the mid-forties to the mid-sixties. “The mid to late 1940s is when you started hearing about big burlesque stars like Stormy, Lilly Christine the Cat Girl and Evangeline the Oyster Girl,” said Delaup. “In the forties there were a lot of dancers who would come in and strip in the style of that time. In the late forties and in the fifties, they got more creative, using props like big oyster shells and champagne glasses. Things got even more imaginative, with more production value and more gimmicky shows.”

Evangeline the Oyster Girl headlined at the Casino Royale on Bourbon Street, rising out of a giant oyster shell and performing a dance with a massive pearl. She eventually dyed her hair green to make it look more like seaweed for her act.

Aside from the grandiosity of the performers, the Bourbon Street venues themselves were apparently quite a sight to behold. The most well-known locales were The Sho Bar, the 500 Club and the Casino Royale, which had raised stages with theatrical-style lighting and balconies from which spectators could watch the shows.

“The 500 Club was on the corner, so they had a great location,” said Delaup. “They could advertise from both sides and they big, tall windows with nearly life-size photos of the dancers in the windows and lots of neon lights. The outsides and entrances of the clubs were very attractive to crowds.”

Of course no discussion of New Orleans burlesque would be complete without mention of the music for which the city is most famous – jazz. According to Delaup, live jazz and burlesque were hand in hand all throughout the Bourbon Street hey-day.

“All the burlesque venues had live jazz. Louis Prima’s brother Leon Prima owned the 500 Club for a long time, and quite a few jazz musicians got started in strip clubs,” said Delaup. Legendary jazz saxophonist Sam Butera, who just recently passed away this June, got his start in Bourbon Street strip clubs when he was just a teen.
New Orleans may have a history of being a playground of debaucherous delights, but its image has changed quite a bit over the years. “It was the burlesque clubs, jazz clubs and shows that made Bourbon Street famous,” said Delaup. “Of course, there’s no semblance of that now; Bourbon Street is very different now.”

The glory days of Bourbon Street burlesque may have faded, but Delaup decided that a throwback to the old days was in order, which is why he created Bustout Burlesque in early 2005. The group consists of an average of 6 to 7 dancers (one of them being this month’s stunning spotlight burlesque performer, Perle Noire).

“We’re trying to give the audience the experience of what New Orleans nightlife was like 50 years ago while still being in the here and now,” said Delaup. “Some people who have attended our shows say they feel as though they’ve stepped back in time.”

Delaup says they’re heralded as the only authentic 1950’s style show because their entire hour and a half long show is performed with the accompaniment of a live band, which is something he decided to include in the New Orleans Burlesque Fest as well.

“It’s going to be a real challenge because all of the performers competing for the Queen of Burlesque title will be performing to live music, and some of them may or may not be accustomed to that,” Delaup said. “It will be very interesting to see how everyone does.”
In addition to the live musical accompaniment, Bustout is pretty serious about authenticity. There’s no neo-burlesque or visible tattoos in their shows. Delaup says there’s nothing wrong with either, but that their goal is to have acts that really look as though they could have come from the era.

“Our acts are very different from the average four minute strip act. They average seven to ten minutes per act, which is much more in line with the classic acts, which some could be as long as 20 minutes,” said Delaup. “A four minute song simply isn’t enough to adequately tease the crowd.”

The caliber of Bustout’s show is pretty astounding considering what they’ve been through during their existence. They premiered in March 2005 and just as things started picking up for them, Hurricane Katrina hit in August 2005 and laid waste to all of their hard work.

“The show was destroyed,” Delaup said. “We lost all the costumes. The props were ruined. Performers scattered all over the country. Some returned. Some didn’t. It took half a year to restart everything from scratch.”

As soon as they were able to reassemble, they hit the ground running. Bustout Burlesque started back in March of 2006 performed every Saturday night for nine months at Tipitina’s in the French Quarter. They did runs at a cabaret and on Bourbon Street, but they’ve been performing monthly at the House of Blues for the past two and a half years.

As far as the city’s recovery from Katrina, Delaup says there’s still a lot to be done.

“New Orleans is still trying to bounce back from the storm. A lot of tourists probably wouldn’t notice because the French Quarter is rebuilt, so you don’t really see any damage in those areas,” Delaup said. “But we’re definitely not fully recovered.”

Delaup and his associates have been planning the New Orleans Burlesque Festival since October of last year, and we here at Pin Curl are quite confident that his efforts will pay off. If you haven’t already snagged tickets, you better do so quickly, because you’re not going to want to miss the opportunity to see who is crowned the new Queen of Burlesque in one of the most historically risqué cities in the country!