Latest news with #burlesque
BBC News
3 days ago
- Entertainment
- BBC News
'It makes me feel strong': Burlesque is back - but is it empowering or degrading to women?
As burlesque queen Dita Von Teese puts on a new London show, the art form, which blends glamour, striptease and humour, is having a moment again – but the debate around it continues. Grab your nipple pasties and tip your bowler hat: burlesque is back. The art form, which blends vintage glamour, coquettish striptease, and a winking knowingness, is one that seems to blow in-and-out of fashion: it was huge in the 2000s, then faded from view. "When it's needed as a discursive form, it comes up," says Jacki Wilson, associate professor of performance and gender at the University of Leeds. And while in recent years, in the UK at least, drag has replaced burlesque as the trending cabaret act de jour, a couple of big new shows suggest burlesque might just be slinking back into the spotlight. "I think it's having a true renaissance, actually – all over the world," burlesque performer Tosca Rivola tells the BBC. She'd know: her show Diamonds and Dust, a "narrative" burlesque show starring Dita Von Teese, has just opened in London. And while Von Teese may be the enduring queen of the art form, even she benefited from the Taylor Swift effect recently, being introduced to a new audience when she starred as a fairy godmother in the video for the singer's 2022 single Bejeweled. Also about to open in the West End is Burlesque the Musical – a stage version of the Christina Aguilera and Cher-starring 2010 film, while at Edinburgh's globally-renowned Fringe Festival this summer, a new International Burlesque Festival is set to run across five venues for the whole month, in response to a "major increase in burlesque productions staged at the Fringe" last year, according to organisers. And if an ultra-glam version of burlesque has endured more in the US than the UK over the last 15 years, it's also enjoying something of a renaissance there. When a Met Gala after-party centres around a burlesque performance by Teyana Taylor and FKA Twigs, as it did this year, it's clearly more hot ticket than old hat. Or is it? Many of these offerings feel doubly retro: a throwback 20 years to the last mainstream period of an art form that was already harking back to a different era. Is the revival of interest in burlesque actually part of a broader wave of specifically millennial nostalgia? Burlesque the Musical is clearly targeting the same millennial audiences who have flocked to other movie-to-musical adaptations such as Cruel Intentions, Mean Girls, Legally Blonde and Clueless. And the fact that Von Teese is still the big draw for Diamonds and Dust suggests a looking back rather than any great leap forward. Glancing at social media, there is plenty of burlesque on Instagram and TikTok, but not too much evidence of Gen Z rediscovering or reinventing it just yet. A short history of burlesque Before we get lost in such layered timelines, here's a brief history. Burlesque's origins are in Victorian Britain: it grew out of music hall and vaudeville. When Lydia Thompson's troupe The British Blondes visited New York in 1868, their combination of parody, humour, singing, dancing and revealing costumes caused a sensation. "Burlesque is foundationally revolutionary feminist – a reclaiming of female sexuality," Kay Siebler, assistant professor at the University of Nebraska Omaha, tells the BBC. "The root, 'burle', is Italian, and means satire, and burlesque was originally created by women's suffrage performers whose whole objective was taking up public space, and not being confined by patriarchal ideas of what it means to be a woman." But from there, American burlesque developed into its own thing, the emphasis gradually moving towards striptease. There's also, it should be said, a parallel story of the art form's development across Europe, notably in the cabaret clubs of Paris and Berlin, towards the end of the 19th Century. Fast-forward to the 1990s, and neo-burlesque was born in the US. By the mid-2000s, hastened by films such as Moulin Rouge and Chicago, burlesque helped drive a wider trend for vintage glamour, and dominated the stages of cabaret clubs across the globe – as an art form made by women, for women. "Throughout the 90s, I was very much under the hetero male gaze," Dita Von Teese tells the BBC, as she reflects on a career which started in strip clubs. "But I'd say around 2002 my fan base shifted to very female… I think because [burlesque] resonated with people, and they felt like they had some kind of permission to indulge in glamour and embrace their sensuality." As an elder millennial, I remember this era well; long strings of pearls, fishnet stockings, corsets and feathery headbands still shriek mid-2000s as much as they evoke the belle epoque to me. By 2007, burlesque was mainstream enough that one of the first pieces I ever wrote for a newspaper was covering an amateur burlesque night in a small town in Wales that had faintly scandalised the locals. Because the more popular burlesque got, the more it was scrutinised, with increasing debate over whether it was a really an art form or mere titillation. Some argued: weren't women prancing around in corsets, stockings and suspenders just embodying old, patriarchal norms – stripping with pretensions? It's worth restating Von Teese's point that neo-burlesque was created and performed by women, for audiences of women and gay men; it might have been using the language of classic heterosexual desire, but it became a safe space for embodying and playing with that. And a really significant strand of neo-burlesque took that further – or rather, went back to its radical roots. There's always been this more punk version, from the likes of legendary New York performance artist Penny Arcade through to the Australian collective of women of colour Hot Brown Honey – where the work may be subversive, satiric, grotesque, experimental, or deeply political, and the performance of femininity is also a critique of how all femininity is really a performance. Is burlesque becoming more regressive? That version feels much more relevant to 2025 – in step with drag and queer culture, and in line with the broader movement towards diversity and inclusivity that we've seen in the last decade. Yet what's surprising about some of the new burlesque offerings is how old-fashioned they seem. Burlesque the Musical has not yet officially opened, so I can't speak to how writer Steve Antin has updated it. But early reports from a preview run in Manchester suggest it's retained its hetero love story and a pretty uncomplicated attitude towards the joy of shimmying in a bejewelled thong. But I have seen Diamonds and Dust – and found it to be a perplexingly retrograde offering. The dancers may be from different ethnic backgrounds, but otherwise it offers a terribly narrow range of Barbie-doll beauty: slim, leggy, busty, long-hair, lashings of pink and glitter. While they're all undeniably fantastic performers – some of the circus skills made my jaw drop – it also all feels boringly straight and sanitised, about as subversive as a Victoria's Secret show. Which is interesting, because there's certainly a broader revival in what we might term an old-fashioned form of femininity currently, notably in the Trad Wives phenomenon. More like this:• How erotic novel All Fours captured the zeitgeist• The controversial clubs that kept women out• How "dollar princesses" brought flair to the UK Siebler argues that "the original burlesque was a social commentary about what it meant to be a woman, and that is absolutely absent from this very repressive, passive and disempowered version of female sexuality". Such pretty, teasing femininity is, she suggests, "a patriarchal script that women have internalised to say, my power is my sexual power. But are we able to think about how limited this power is?" Wilson has a different perspective: she suggests that, far from just making a comeback now, burlesque has actually continued to bubble away in an underground form – within community spaces, where words like "empowering" do feel more relevant. "Burlesque has opened up now to include queer people, older women, younger men, the transgender community, working-class women," says Wilson. "It's inclusive of different people who want to reflect on what sexiness means, what these tropes and stereotypes mean." This grassroots burlesque, performed by amateurs, is of course a world away from polished, palatable commercial shows – which Wilson sees as distracting from the art form's more radical potential. "I really see the feminist value of burlesque," she says. "It's an incredibly important safe space for women to think about what their bodies mean." -- For more Culture stories from the BBC, follow us on Facebook, X and Instagram.
Yahoo
7 days ago
- Entertainment
- Yahoo
‘American Pickers' Danielle Colby Wows in Leopard Burlesque Look, Teases What's Next
'American Pickers' Danielle Colby Wows in Leopard Burlesque Look, Teases What's Next originally appeared on Parade. American Pickers star , who uses they/them pronouns, invited fans to join them for a special opportunity as they spotlighted their burlesque classes in their latest update. The reality TV star shared a sultry new photo in promotion of their recently announced burlesque classes at their Ecdysiast Arts Museum that opened on June 21. In the new photo, Colby wore a risqué, barely-there outfit as they arched upside down. They wore a leopard-print cat ears headband with cat makeup on their face and leopard spots on their body. 🎬 The post shared information about the burlesque classes in the caption, which read, "@dannie_diesel_ecdysiast invites you to join us for Basic Burlesque $25 6-7pm and Advanced Burlesque $35 8-10pm every Thursday night only at @ecdysiastartsmuseum." Colby's message warned interested fans to sign up soon if they wanted to participate, saying, "classes are filling up fast lately, so reserve your spot now by clicking the link in my bio or go to fan of Colby's who appeared to have already tried out the classes praised them in the comments and encouraged others to go, writing, "These classes are so good for the soul. I feel safe here & valued as a student. Highly recommend!" Colby is offering both basic and advanced burlesque classes, and according to the Ecdysiast Arts Museum's website, the classes are set to continue through at least late September.'American Pickers' Danielle Colby Wows in Leopard Burlesque Look, Teases What's Next first appeared on Parade on Jul 14, 2025 This story was originally reported by Parade on Jul 14, 2025, where it first appeared.
Daily Mail
08-07-2025
- Entertainment
- Daily Mail
Dita Von Teese, 52, admits she WANTS to feel 'objectified and sexualised' and says the subject still feels 'taboo' after stunning fans with her racy Diamonds and Dust burlesque show
Dita Von Teese has revealed the moments she 'wants to feel objectified and sexualised' after stunning fans with her latest show. The burlesque star, 52, has been taking to the stage in her Diamonds And Dust show, which features 'high glamour, bold women, and dangerous games' at the Emerald Theatre in London. And speaking to Fearne Cotton on her Happy Place podcast, Dita shared that she feels there is still 'taboo' around feeling sexualised and desired, and admitted the moments she feels most objectified, haven't been when she's on stage. She said: 'Interestingly, the times I feel objectified are never to do with being on stage or doing what I do. 'It's always other weird things in life that you're just like, ''Oh, God, it's so weird to have somebody asking me that question'' or maybe somebody will recognize me for instance and they ask for a picture and I'll pose for their picture and then somebody else will be like, they don't know who I am, they just are like, ''why does those people want a picture?'' 'And they'll be very aggressive and like, ''I want one too'' and you're just like, oh, that's where you feel objectified when people put their hands on you or 'I need this too' or ''can you do this?'' Dita Von Teese has revealed the moments she 'wants to feel objectified and sexualised' after stunning fans with her latest show 'Anything like that I feel objectified. I know it's really taboo to say, but sometimes you're just like, ''I just want to be objectified for a minute. Wouldn't that be nice?'' 'I want to be sexualized and objectified sometimes. 'I think I'm also so used to having a theatre full of women that are there maybe because they read my book or whatever, or they follow me and then sometimes, especially this happens in Vegas, when there's people that don't know me, they don't know what my show is about. 'They are just walking into it and they're just like, 'yeah, this is hot' and I'm like, 'oh good I'm glad that it's still sexy and hot too'. 'I like to create a show that feels if you have never heard of me, you're still going to be like, 'that was so much fun. I've never seen anything like that in my life.' Credited with re-popularising burlesque, Dita, born Heather Renée Sweet, is an American vedette and businesswoman. A vedette is the main female artist of a show derived from cabaret and its subcategories of revue, vaudeville, music hall or burlesque. In January, Dita left Lorraine viewers swooning in a plunging gown as she revealed the 'most outrageous challenge of her life' on the hit daytime show. The model opened up to Lorraine Kelly about her time on The Masked Dancer. Dita starred on the ITV competition back in 2021 and dressed as a beetroot in a green and purple dress with a mask the shape of the vegetable. She revealed to Lorraine how she had suffered with vertigo from riding a mechanical bull and subsequently found dancing on the show difficult. Dita said: 'I had vertigo from riding my mechanical bull, I was riding my mechanical bull, swinging my head around and I triggered a vertigo thing and it was a problem for a year so I'm doing The Masked Dancer with this head and the lights on the floor were crazy, it was outrageous. 'It was one of the biggest challenges of my life but it was funny and I loved it,' the dancer added. The show was filmed during the Covid pandemic and Dita stayed at Claridges during the filming. Dita said: 'It was my favourite, besides doing the show and laughing throughout, it was right when the pandemic started and it was a full lockdown here and I was the only guest at Claridges.' She enjoyed a mostly empty hotel and 'special treatment' during her stay. 'I had it all to myself, I'd come wafting down that staircase in the mornings in my nightgown. There were like five people working there and I just had special treatment and they were like sure, you can stay there, because I'm a friend of the hotel,' Dita added.
Daily Mail
04-07-2025
- Entertainment
- Daily Mail
Dita Von Teese, 52, steals the show in a glitzy silver bejewelled gown for the world premiere of her Diamonds and Dust burlesque show
Dita Von Teese put on a dazzling display in a glitzy silver bejewelled and sequined gown for the world premiere of her Diamonds and Dust show. The burlesque star, 52, is bringing a new theatrical experience featuring 'high glamour, bold women, and dangerous games' to the Emerald Theatre in London. For Thursday's premiere, Dita stole the show in a stunning silver gown, which featured a bejewelled bodice and a sequined wrap skirt. She paired the look with silver strappy heels and diamond drop earrings, with her signature black tresses styled in a glamorous 1930s style. Dita was joined for the premiere by a host of stars, including Diamonds and Dust lead actress Faye Tozer. Steps star Faye - who plays Miss Kitty LeRoy - echoed the founder's style in a boat-neck figure-hugging bejewelled gown. Faye paired the look with diamante stilettos and diamond chain earrings, with her blonde locks were styled in voluminous waves. Also in attendance on Thursday was former Made In Chelsea star Louise Thompson, who opted for simple-yet-chic. The reality star and campaigner stepped out for the premiere in a draping black shirt maxi-dress, as she accessorised with a Louis Vuitton handbag and gold earrings. Another reality star spotted on the red carpet was Married At First Sight UK's Ella Morgan. Ella looked glamorous in a black satin halterneck gown, featuring a plunging cowl-neck, as she carried a gold metal handbag. Meanwhile Boy George made an appearance sporting a striking bright pink hat adorned with stars as well as eccentric black trainers with rope laces. Great British Bake Off star Candice Brown was among those at the premiere. The baker stunned in a bright pink and red satin figure-hugging gown, which featured a racy cut-out at the bust. Steps star Faye - who plays Miss Kitty LeRoy - echoed the founder's style in a boat-neck figure-hugging bejewelled gown Model and DJ Lady Mary Charteris put on a daring display for the evening as she stepped out in a very sheer knitted dress, complete with beaded cut-outs. Underneath her dress Mary's bra and pants were on show and she had a red and light pink skull scarf tied onto her dress. Strictly Come Dancing professional dancer Nadiya Bychkova meanwhile looked incredible in a pair of black satin shorts with a matching velvet bralet and blazer. Another Strictly star out in force was Aljaz Skorjanec, who arrived on the carpet in a burgundy suit. Credited with re-popularising burlesque, Dita, born Heather Renée Sweet, is an American vedette and businesswoman. A vedette is the main female artist of a show derived from cabaret and its subcategories of revue, vaudeville, music hall or burlesque. In January, Dita left Lorraine viewers swooning in a plunging gown as she revealed the 'most outrageous challenge of her life' on the hit daytime show. Wearing a black midi Vivienne Westwood dress, the burlesque star, 52, dazzled on today's ITV show. Her glamorous off-the-shoulder attire was made of gathered fabric at the top and had long, slim sleeves and buttons along the front. The model opened up to Lorraine Kelly about her time on The Masked Dancer. Dita starred on the ITV competition back in 2021 and dressed as a beetroot in a green and purple dress with a mask the shape of the vegetable. She revealed to Lorraine how she had suffered with vertigo from riding a mechanical bull and subsequently found dancing on the show difficult. Dita said: 'I had vertigo from riding my mechanical bull, I was riding my mechanical bull, swinging my head around and I triggered a vertigo thing and it was a problem for a year so I'm doing The Masked Dancer with this head and the lights on the floor were crazy, it was outrageous. 'It was one of the biggest challenges of my life but it was funny and I loved it,' the dancer added. The show was filmed during the Covid pandemic and Dita stayed at Claridges during the filming. Dita said: 'It was my favourite, besides doing the show and laughing throughout, it was right when the pandemic started and it was a full lockdown here and I was the only guest at Claridges.' She enjoyed a mostly empty hotel and 'special treatment' during her stay. 'I had it all to myself, I'd come wafting down that staircase in the mornings in my nightgown. There were like five people working there and I just had special treatment and they were like sure, you can stay there, because I'm a friend of the hotel,' Dita added.
The Guardian
03-07-2025
- Entertainment
- The Guardian
Diamonds and Dust review – Dita Von Teese and Faye Tozer's saddle-sore wild west burlesque
Somewhere in the noughties, Dita Von Teese was just about the most glamorous woman on earth, curled up in a giant martini glass, trailing feathers and jewels, a throwback to 40s and 50s glamour; Bettie Page with a great sense of spectacle and a knowing wink. Her latest show, Diamonds and Dust, feels like it could have been made back then, in that this wild west-themed floor show comes without much of the innovation, subversion, irony and identity politics that have happened on the burlesque scene in between, including in Von Teese's own work. The show is actually led by Faye Tozer from Steps. She's a likable front woman, playing saloon owner Kitty LeRoy, her story of hardscrabble life and multiple husbands interspersed with acts combining burlesque, circus and dance. It's gorgeous girls draped in pearls and lacy layers (teasingly removed), with a bit of lasso brandishing, a cowboy swinging from a chandelier (Magic Mike vibes) and Tosca Rivola proving herself talented on the cyr wheel. But the overall effect? I think the word is basic. Pretty young women taking off their clothes in not-that-interesting ways. Von Teese's whole appeal is retro, and her obsession with period glamour is taken to deliciously detailed levels, but there's retro and there's retrograde. Or is that the point, that it's a throwback? There's something Tarantinoesque about the setting, a fetishisation of American pop culture and iconography. But I also couldn't help thinking of the return to stereotypical femininity seen in tradwives and Maga women in push-up bras. The real point of it all, of course, is Von Teese herself (beware, she's not performing in every show). She appears at the end of each half, a vivid, otherworldly presence smothered in diamante, with sparkling red lips and tiny corseted waist. At 52 she's the absolute doyenne and holds the stage with regal charisma. Whether in statuesque pose or exultantly riding a contraption that's a cross between a bucking bronco and a pink velvet Chesterfield, she's untouchable, and therein lies the appeal. There is no doubt she's worth seeing, and it's important to say this could be a perfectly fun night out, but artistically, it feels like a step backwards. At Emerald theatre, London, until 28 September
