LBW: Jetsetters versus Newcomers

What matters most in any art form? Is it the perfection of established technique or the willingness to take risks and do the unexpected? Innovation keeps things fresh, prevents the veterans from heaving a world weary sigh with an "Oh yes, it's dead, once you've seen one you've seen them all" but polish elevates it from the everyday and makes the difficult seem effortless. This question is as valid in burlesque as it is in any other form of artistic performance especially at the Battle Royale and Jetsetters Ball of Chaz Royal's London Burlesque Week.

Battle Royale consists of fledgling burlesque performers aiming to separate themselves from the crowd and grab some early exposure. Having been to many newbie nights, I was delighted with the absolute lack of car crash performance, who were mostly funny and original with new twists on the old standards. Daisy De Lux covered the mermaid act, a common concept, and I settled in for the expected when suddenly B-52's Rock Lobster came blaring across the speakers. Out came a large and very aggressive lobster puppet and the whole thing turned into a battle between Daisy and her randy crustacean which gave a whole new meaning to 'fresh seafood'. Scotland's own Chassy vanKlaas sang a Canadian folk song whilst fan dancing and stripteasing in an impressive show of multitasking while Pixie Frisk gave great face in a germophobic tribute to swine flu with an act as much about physical comedy as it was about striptease.

My favourite was Ginger Blush who played a tragic Laurel looking for his Hardy. What started out as an astute character study with the mannerisms down pat turned into a surprisingly sexy strip with one of the most imaginative uses of pastie reveal I've seen. There were the usual high glamour acts but I was struck overall by the originality of this new crop of performers who infused me with an excitement about the future of the scene.

Now on to the old guard... The owner of one wicked twinkle in his eye, Jetsetters Ball compere Armitage Shanks swung wildly between bewitching and menacing. Mr Shanks sang with a voice like Tom Waits blended with Nick Cave and looked like an insane circus ringleader. Keeping up the pace, the fantastically named Vagina Jenkins, the reigning queen of the Atlanta, Georgia burlesque scene, was the perfect mix of sex and personality hitting the audience like a battering ram with a powerful sensuality that makes me laugh at anyone who thinks burlesque demeans women. And speaking of powerful women, the inimitable Roxy Velvet managed to make performing en pointe, masked, and with two enormous swords look as easy as running down to the shop for a pint of milk. Did I mention the swords were on fire? The swords were on fire. That, my friends, is polish.

As with the Battle Royale there were fan dances and glamour strips to satisfy the most ardent fan of classic burlesque. Alongside the beautiful Beeby Rose there was the amazingly outlandish duo, Les Romanesques; alongside the stunning LouLou D'vil there was the elegantly odd Pustra. There was enough of that true variety to give the shows substance as well as style. When comes down to it, the choice between polish and innovation is no choice at all; you need both to be complete and these two shows had it in spades.