How to Strut Your Stuff Like a Burlesque Babe

My dancin' shoes.

“I want to do that!” said the sassy, sexy, confident me after being blown away by Cherry Boom Boom‘s rock ‘n roll a go-go show, “The Rendezvous,” last fall at the King King Hollywood. Little did the shy, awkward, introverted me know that in just a few short months I’d be doing just that with Cherry Boom Boom creator and original Pussycat Doll Lindsley Allen.

Though completely out-of-character for me, I signed up for Lindsley Allen’s STRUT FIT class, a “one of a kind 6-week dance/workout series fusing the strength and grace of yoga with the sensuality of burlesque and the fun of rock n roll IN HIGH HEELS!”

I’m not gonna lie, it was the shy, awkward, introverted me dancing in STRUT FIT class much of the time. But Lindsley’s teaching style is so patient and encouraging that the sassy, sexy, confident me eventually took over. Then all it took was seeing video of me dancing in class to convince me:  I looked pretty damn good!

Full disclosure, I provide social media services for both Cherry Boom Boom and Lindsley Allen’s STRUT FIT class. But I’m not getting paid to write this blog post. My affection for STRUT FIT is genuine. Just ask my boyfriend for whom I actually performed the burlesque routine I’d learned in class! Nothing short of complete confidence in myself could have convinced me to do that.

I’m looking forward to the next STRUT FIT series May 3 through June 7. For any more incentive you need to join us, check out the second run of Cherry Boom Boom’s “The Rendezvous” at the King King Hollywood April 26, 27 and 28. Granted, the women on stage are professional dancers with advanced moves that take years to perfect, but Lindsley’s STRUT FIT class is not about perfection; it’s about empowerment. No matter your dance background, STRUT FIT will get you in touch with your fun, flirty, feminine side that you (and your honey) will love.

March Into Anarchy Scared the Hell Out of Me, and Other Reasons Why You Must Go

Founded in 1981, this is The Actors' Gang 30th Anniversary season.

I was warned. Though I don’t remember her exact words, the woman introducing “Satiristas Live: March Into Anarchy” at The Actors’ Gang Theatre last Tuesday night suggested those of us who may be uncomfortable with all that a “march into anarchy” implies should leave the building. I remember feeling only a tinge of amused discomfort because nothing within my realm of live theater experience could have informed the fear I felt for the next 90 minutes (a guesstimate, as the last thing on my mind was keeping an eye on the time).

Involving the audience is one thing. Scaring the hell out of them is another. Granted, I’m probably not representative of the masses. I hate being the center of just about any attention. Honestly, it was my worst nightmare – this march of bizarre characters milling, mingling, marching, crouching, running and jumping through the audience, expecting us to react and interact. Thank goodness my boyfriend was with me, seated on an aisle and comfortably deflecting as much attention from me as possible.

I thought I was going to a play, the ultimate observer’s experience. Instead I was involved in what seemed an eternal assault on my normal, my comfort, my personal space — at any moment, from any direction, from any walk of life. And that, my friends, is why “March Into Anarchy” is so f’ing brilliant.

Read full story at Fluttering Ivy Media….

Annie Potts Shines in AfterMath at Odyssey Theater Ensemble

Elliot Shoenman's "AfterMath" at the Odyssey Theatre Ensemble is a haunting comedic drama starring the brilliant Annie Potts.

I’ve never been so close to acting so good as I was at L.A.’s Odyssey Theatre Ensemble for “AfterMath” starring Annie Potts. I sat in the front row just a few feet from the stage, and was blown away by the effortless authenticity of her every expression, movement and word. This Elliot Shoenman play — directed by Mark L. Taylor, and produced by Gary Guidinger and Linda Toliver — runs through March 13th, so there’s still time for you to witness the brilliance that is Annie Potts.

“AfterMath” is a comedic drama about a family coping with the suicide of the father. Annie Potts plays his widow and the mother of their two grown children, played by Meredith Bishop and Daniel Taylor. A family friend rounds out the cast, played by Michael Mantell. Together they make for a well-balanced supporting cast, all with impressive resumes of their own.

The story stays with you for a number of reasons, not the least of which is its basis on the playwrite’s father’s suicide when Elliot Shoenman was 18 and his younger sister was 11.

On stage, the real-life suicide note haunts the family via its larger-than-life projection on an interior wall.

It’s hard to imagine a more appropriate venue for this intimate story. I didn’t count the seats, but the Odyssey Theatre doesn’t seat many. I’m the worst at guesstimates of this sort, so I’ll keep the range large and say 50 to 100. In the best possible way, it feels like sitting on your couch watching a play performed in your very own living room, starring one of the finest comedic actresses in the world.

Read full story at Fluttering Ivy Media….

Jazz Sensation Liane Carroll is an ‘L.A. Virgin’ No More

Up until a week ago, my only exposure to live jazz music was what I remember when I spent a few days in New Orleans during spring break in college. Translation: I don’t remember much. So I was one lucky girl to spend an evening at Hollywood’s Catalina Jazz Club last Tuesday night when they welcomed one of the world’s premiere jazz singers – London’s Liane Carroll.

“What struck me most was the abundance of energy emanating from this woman….”

An “L.A. virgin,” she called herself, this her first time playing in the City of Angels. “That was two songs together,” Liane said of her first number, “I forgot how to stop!”

I expected it to be heavy on the horns but most of the songs Liane sang were accompanied by her piano, her husband Roger Carey on bass, and Jason Lee Bruns on drums (whose company, Panout Music Group, produced the show). The flugelhorn did come into play toward the end of the evening when Jason Gamer took the stage.

What surprised me most about the show was not the brilliance of Liane Carroll’s voice; I expected that, and she delivered. What struck me most was the abundance of energy emanating from this woman, and her contagious, playful banter in between numbers – such an easy familiarity with the audience, telling jokes and sharing stories.

My favorite story is the one Liane told of her trip by train through Ireland with her daughter. That’s when she wrote “Dublin Sunrise” (aka “Dublin Morning“) – a love song dedicated to her husband Roger Carey. It’s such a beautiful ballad, and a particularly memorable performance watching the songwriter sing it to her muse as he plays alongside her onstage.

“Catalina delivers on ambiance and intimacy….”

Before the night was over, Liane remarked how much she loved the venue. Though it’s hidden away in a non-descript building you’d never expect to find a jazz club, the Catalina delivers on ambiance and intimacy. It’s a supper club too with quite a lengthy menu, though as a vegan it would be nice to see more veg-friendly fare. That said, the Greek Plate (minus the feta cheese) and the spicy Cajun fries hit the spot.

Read full story at Fluttering Ivy Media….

From This Day Forth, Hamlet Will Always Be the Prince of Puddles to Me

From left to right, the cast of Hamlet, Prince of Puddles - Brian Kimmet, Angela Berliner, Natasha Midgley. Nicol Razon and David Dastmalchian.

Here’s the thing about children’s theater. For it to be as wildly successful as anyone involved should dream, adults have to love it too. They drive the cars. They buy the tickets. They tell their friends. Most children’s theater companies probably get that, but L’Enfant Terrible actually has the talent to pull it off.

A couple of Saturdays ago I saw L’Enfant Terrible’s production of ”Hamlet, Prince of Puddles” at the Bootleg Theater. Whether you’ve seen Hamlet adapted a dozen times, or you’ve inexplicably managed to avoid the story altogether, you will enjoy this Shakespearean show.

Besides doing a fine job of abbreviating Hamlet for a 1-hour performance that makes sense to both adults and children, “Prince of Puddles” does so in the warmest, whimsical way. It’s really quite remarkable what a large world they’ve created within the confines of such a small set, bursting at the seams with wit, color, creativity and energy.

Read full story at Fluttering Ivy Media….

Much Obliged, Ladies, for The Rendezvous with Cherry Boom Boom!

No pics of the ladies in action can possibly do justice to Cherry Boom Boom. Though I do like this abstract of sorts. Look real close and you can see a girl spinning from a flying trapeze. Can't make it out? Guess you'll just have to go!

It’s not like me to break into ass-shaking dance in front of the mirror, but I can’t seem to help myself after last night’s Cherry Boom Boom burlesque show – “The Rendezvous” – at the King King Hollywood. I was blown … a… way! It’s smart, sexy, funny, creative, inspiring, feel-good live theater that is a must-see. I swear to you, and as my friend Michele can attest, I had a smile on my face from beginning to end at the sheer spectacle of it all, and the level of talent assembled on stage.

Cherry Boom Boom is Lindsley Allen’s baby — the creator, choreographer and artistic director. After reading her bio, it’s no wonder I’m so impressed. She toured with Prince as Darling Niki (the stage name she uses today) during his Around the World in a Day Tour. Lindsley was also a founding member, co-artistic director and choreographer of the Pussycat Dolls. And she did choreography for Charlie’s Angels 2, as well as Carmen Elektra’s Aerobic Striptease.

Read full story at Fluttering Ivy Media….