Review: Lust Filth
In wartime Paris, a subculture called the ‘Zazous’ would use fashion and pop culture to subvert the fascist Vichy government. These young people - often people of color - would dress flamboyantly, parading themselves as dandies and dance as suggestively as they could as an act of resistance to the overwhelming oppression. While obviously not under quite the same levels of despotism, the pandemic has nevertheless been a harsh regulator of free expression, and nights like this feel like rebellion, or the most glamorous form of conscientious objection at the very least.
It’s hard to believe we’re in a backyard in a residential neighborhood. It’s gaudy and bawdy and there’s a suggestive stage set that puts most local venues to shame. Actually it’s beyond suggestive, it’s more like playfully imperative. Music plays, assorted ne’erdowells and queerdos take their seats and a couple of French maids start to prepare us for what’s to come.
The theatrics are courtesy of Eddie Lockwood and The Great Dane and, honestly, has anyone ever made stage management look so good? It’s half striptease and half stage admin, and it’s entertaining as all get out. Throughout the night the pair flit about with impudent grace, calming neighbors, receiving tips and generally overseeing the entire show with consummate poise and humor. As someone who produces large-scale shows, it’s a masterclass in covering transitions without the audience starting to reach for their phones.
The acts aren’t too shabby either. An opening number by the dangerously glamorous Angie Z summons up that Weimar/Cabaret/Let’s-Punch-Nazis-While-Blasting-Torch-Songs vibe with style, as Eddie and Dane nail the back-up duties. It’s a fool’s errand to try and encapsulate the edgy drama of the line up, but suffice to say that femme muscle is dramatically employed, poles are swung around revealingly, and in short, the lines between drag, burlesque and everything else that’s a good time on stage are trodden into the glitter-sodden floor with dazzling gusto.
By the time GoGo McGregor takes the stage for hilarious Tales From the Mortuary, it already feels like a full show but, be still my wad of dollar bills, it’s only the intermission. Dick Jones, LadyBEAST, Aria Delanoche, Bizou Lawless, and VVictoria Vinyl also all shine and Lady Lucerne (of the aforementioned pole) cements their spot as one of the most creatively impressive New Orleans talents.
As venues reopen and shows return to support the places from whence they came, it’s a bitter-sweet feeling that we may see less of these backyard spectaculars. It felt like a jab in the eye to the pandemic, it felt like the last hurrah of an otherwise joy-starved purgatory, it felt like the most exhilarating fever dream you could have. It’s good to get glitter on your clothes again. Les Zazous, je vous salue.
UAN:NO
BOOK A TABLE AT UP ALL NIGHT'S FIRST LIVE EVENT, THIS SATURDAY, MAY 22nd!
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In wartime Paris, a subculture called the ‘Zazous’ would use fashion and pop culture to subvert the fascist Vichy government. These young people - often people of color - would dress flamboyantly, parading themselves as dandies and dance as suggestively as they could as an act of resistance to the overwhelming oppression. While obviously not under quite the same levels of despotism, the pandemic has nevertheless been a harsh regulator of free expression, and nights like this feel like rebellion, or the most glamorous form of conscientious objection at the very least.
It’s hard to believe we’re in a backyard in a residential neighborhood. It’s gaudy and bawdy and there’s a suggestive stage set that puts most local venues to shame. Actually it’s beyond suggestive, it’s more like playfully imperative. Music plays, assorted ne’erdowells and queerdos take their seats and a couple of French maids start to prepare us for what’s to come.
The theatrics are courtesy of Eddie Lockwood and The Great Dane and, honestly, has anyone ever made stage management look so good? It’s half striptease and half stage admin, and it’s entertaining as all get out. Throughout the night the pair flit about with impudent grace, calming neighbors, receiving tips and generally overseeing the entire show with consummate poise and humor. As someone who produces large-scale shows, it’s a masterclass in covering transitions without the audience starting to reach for their phones.
The acts aren’t too shabby either. An opening number by the dangerously glamorous Angie Z summons up that Weimar/Cabaret/Let’s-Punch-Nazis-While-Blasting-Torch-Songs vibe with style, as Eddie and Dane nail the back-up duties. It’s a fool’s errand to try and encapsulate the edgy drama of the line up, but suffice to say that femme muscle is dramatically employed, poles are swung around revealingly, and in short, the lines between drag, burlesque and everything else that’s a good time on stage are trodden into the glitter-sodden floor with dazzling gusto.
By the time GoGo McGregor takes the stage for hilarious Tales From the Mortuary, it already feels like a full show but, be still my wad of dollar bills, it’s only the intermission. Dick Jones, LadyBEAST, Aria Delanoche, Bizou Lawless, and VVictoria Vinyl also all shine and Lady Lucerne (of the aforementioned pole) cements their spot as one of the most creatively impressive New Orleans talents.
As venues reopen and shows return to support the places from whence they came, it’s a bitter-sweet feeling that we may see less of these backyard spectaculars. It felt like a jab in the eye to the pandemic, it felt like the last hurrah of an otherwise joy-starved purgatory, it felt like the most exhilarating fever dream you could have. It’s good to get glitter on your clothes again. Les Zazous, je vous salue.
UAN:NO
BOOK A TABLE AT UP ALL NIGHT'S FIRST LIVE EVENT, THIS SATURDAY, MAY 22nd!
MORE FEATURES
HOME
