Sydney Reviews

Left - Moira Finucane (Photo - Pru Upton). Cover - Moira Finucane, Yumi Umiumare and Azaria Universe.

As the saying goes, one man’s art is another’s pornography. This has always been true of burlesque, a blend of cabaret, circus acts and striptease.

The last few years have seen a resurgence of burlesque performances in both Europe and America. This Neo-Burlesque movement has a strong emphasis on striptease and comments on the stereotypical images of sex in mainstream culture by using grotesque images for the purposes of subversion. Yet you can’t help wonder if burlesque is any more than an excuse for some cheap thrills, a complaint made about the genre since in came to prominence in Britain in the 1840’s.

Burlesque was a form of entertainment for the working classes. It parodied the musicals and operas that people in the upper classes enjoyed. By the mind 1860’s burlesque performers had to rely on scantily clad women to keep the punters interested (some things in showbiz never change). In the early twentieth century burlesque became part of the Vaudeville scene across America and involved increasing amounts of striptease.

I first saw a burlesque show at the Sydney Opera House in 2006. Feasting on Flesh explored the relationship between food and sex rather graphically, chucking in some acrobatics and live music for good measure.

I was intrigued by the strangeness and variety of acts so I decided to revisit the genre with Opera House’s latest offering The Burlesque Hour, created by Jackie Smith and Moira Finucane. This show seems to lack the variety of Feasting on Flesh. It seems to rely on the use of shocking and grotesque imagery A lot of the acts involve stripping. Knickers, in particular tend to come off. Liquid in the form of milk and bright red soup flows freely. There is a noticeable lack of wit and humour in these performances. Many acts are done purely for grotesque shock value so the subversion only exists on one level. Some fail to shock at all like a woman wearing only a necklace and shoes who dances to Bonnie Tylers’ Total Eclipse of the Heart, as if relying on the nostalgic value of the song to carry the act. The show  would have benefited from the use of traditional Burlesque staples like witty songs or parody.

The show does have its highlights. There is a front-of-curtain, address in the form of a poem about being buried alive played while Meatloaf’s I Would Do Anything for Love, But I Won’t Do That plays. The poem begins to merge hysterically with the lyrics of the song. In a strange dance piece a women (Yumi Umiumare) tugs at her formal clothing in a series of frantic tick like movements, as if driven by a nagging desire to be free of her work and social responsibilities.

As visual spectacle The Burlesque Hour has a few eye opening moments, but as a variety show it lacks just that. If you have never seen burlesque show before, it is worth a look for novelty value.


The Studio at Sydney Opera House presents
The Burlesque Hour…She’s Back!
Created by Moira Finucane and Jackie Smith

Venue: The Studio
Dates: Wednesday 14 to Saturday 31 January. No shows Sunday or Monday.
Times: Weekdays at 8.15pm. Saturdays at 7pm and 9.30pm.
Tickets: Weekdays $42 or $35 concession. Friday and Saturday all tickets $45.
Bookings: (02) 9250 7777 or online at sydneyoperahouse.com
Duration: 90 minutes
Information: www.moirafinucane.com