Brahaha @ Zoo Venue 3

The word ‘burlesque’, derived from the Italian ‘burlesco’, literally means ‘to send up’. And, indeed, when the term gained widespread usage in the 18th century, it referred to a form of musical and theatrical parody, usually of a serious, classical opera or piece of theatre. In time, a strand of burlesque emerged which focused on political and social satire, often involving the removal of clothing, but always as the means to an end: to turn social norms head over heels. However, in 20th century America, the genre lost its biting wit, its subversive and thought provoking social commentary, and ‘burlesque’ came to refer to a variety show in which simple striptease was the main attraction.

Unfortunately, Kitty Cointreaus’ Brahaha is more akin to the words’ latter referent than to its prior. On the 14th, it featured four burlesque/strip tease acts:  Valentina del Pearls, Honey Wilde, Vendetta Vain and the eponymous Kitty Cointreau. By the time Vendetta finished her act, it all seemed a bit routine and conventional: you take off the gloves, then the rest of the clothes, fling around the nipple tassels and strut off stage.

Honey’s was the only act with a structuring premise and a bit of irony. She played a woman taking the British citizen test, which features four sections of British life that applicants must learn about: weather, politics, sport and entertainment. For the last section, entertainment, she stipped down, shielding her modesty behind a copy of ‘The Star’, which displayed its ‘Star babes’ on the front cover in all their glory. Just at that moment, a voice came over the loudhaler announcing “Congratulations on becoming a British citizen. You can now enjoy all the rights and freedoms this country has to offer”. Unfortunately, this was left to the very end of the act, and Honey left stage without following the point through.

Kitty’s act, although lacking political satire, or any concept really, was the best of the burlesque. From the moment she entered to the heavy, driving beats of Muse’s Feeling Good, all eyes were fixed on her. She had two things the others lacked. First, skill. Her classical dance training was evident from her graceful but not stilted movements and her ease on stage. Which leads to the second attribute: the look that she was really enjoying herself. Unlike the other burlesque performers, who were visibly self conscious at times, she threw herself into the performance with abandon.

These two attributes, skill and a sense of enjoyment, were seen to an even greater extent in the highlight of the night: Circus Trick Tease. A refreshing break from stiptease, this trio of two men and one woman danced with absurd enthusiasm to Jump, Jive and Wail, creating an infectiously feel-good atmsophere, before performing amazing acrobatic feats and earning a unanimous standing ovation. Brahaha is worth seeing for this act alone. The evening was rounded off with two comedians, the rather funny Stuart Goldsmith and the rather average Chris Stokes, and the competent compere Will Hodgson.

Burlesque is undergoing a revival, with more and more springing up on the fringe programme each year. To stand out, a burlesque night cannot become complacent, relying merely on lavish costumes and women’s bodies, or it will be replaced by a smarter, fresher, edgier programme — or at least one that involves more skill and more fun. Which, judging from the rapturous standing ovation for Circus Trick Tease, is what burlesque audiences truly desire.