Strip Club Guide
Portland, correctly or not, is known for its per-capita
plenitude of strip clubs. Its burlesque scene, however, still has a ways
to go if it’s to top San Francisco’s or Seattle’s. We’re mo
The performance of Stephen Petronio's Like Lazarus Did is a special one for dance presenter White Bird, not because of the dance company—White Bird's presented Petronio six times, more than any other choreographer—but because of the live accompaniment by the More
The Rose City School of Burlesque class gathers around instructor Meghan Mayhem, who’s demonstrating how to apply false lashes in the mirror. Mayhem, who earlier in the course whipped her blonde mane into a beehive in less than six minutes, says every performer needs at least three things: liner, lashes and shadow. Jason, one of ...
Abstract, expressive dance commonly seeks some kind of enlightenment. Butoh, for example, is often credited for changing lives with its agonizingly slow movement and grimaces. More difficult-to-categorize performance art has similar goals—if I may use a word as deliberate as “goal.” More
When Lou Reed’s album Metal Machine Music came out
in 1975, critics assailed it as a contemptuous joke, a smack in their
faces and an immature scrape with career suicide. Now, the album, a
Cedar Lake Contemporary Ballet, an ever-popular company out of New York, is no stranger to popular culture: Emily Blunt was cast as a company dancer in The Adjustment Bureau. But its repertoire is at least high-minded in intent, as seen in a one-night performance Wednesday night, presented by White Bird</...More
Baby LeStrange stands before the Rose City School of Burlesque class in hamburger-print leggings and boots with gold, spiked toes. She’s teaching facial expression, a skill she’s exhibited onstage before while More
Alison Roper begins Bolero with steely energy, surrounded as she was in 2008, when the piece premiered, by metal panels that gradually rise as Ravel’s snare drum-driven score increases in intensity. Within moments, Artur Sultanov bursts gallantly from stage right and rushes to her, completing the time warp to six years ago when the pair first danced the piece by Nicolo Fonte.
Forbidden names for new burlesque performers include Kitten, Kitty, Vixen and Honey, or anything with “Von” or “de Ville” or “Lux” or “Deluxe.” And, of course, Lolita. They’re overused, says Fannie Fuller, instructor at the Rose City School of Burlesque. “And when you start you want to be like, ‘This is me.’...
In 20 years of performing in Portland,
Luciana Proaño has never gotten significant media attention. She
acknowledges she could do more to promote herself, but by her nature—she