(seen at the evening performance on 8th March 2022).
This third attempt at scheduling the show turned out to be International Women’s Day, and a pretty good way of celebrating it.
As the tour programme says, “a shy, dishwater blonde from a farming town... I didn’t see a glamour girl in the mirror. So I set out to weave a web of mystery and allure. Gradually, I cultivated the confidence to be me.”
And that is what Dita Von Teese’s latest show is all about, that confidence to be yourself and have fun playing a character you have created.
That begins with the audience. A completely even split of those identifying as female, male and all points between, some fantastic outfits were on display before the curtain even rose.
When it did, it was on the headline star herself, making good use of two dancers and a giant birthday cake from which a glittery gloved hand produced miscellaneous items to dance with. Star and outfit glittered as she stepped out in celebration of herself and her confidence.
The raucous Jonny McGovern then appeared as our host for the evening. Failing to understand that the Palladium stage does all the work in reaching the back seats, he took the traditional Burlesque barker’s line and roared every word spoken. Wearing for those like the monkey with an interest in comedy, but the audience reaction warmed as they became used to this approach even as the proscenium arch grumbled and felt like it wanted to masticate him.
Second up, Laszlo Major showed great prowess in a gymnastic pole routine with more than a hint of ballet training – the final pose gripping only by a thigh, horizontal to the ground is the way to take a curtain.
Obviously with a circus background, Tosca Rivola became an instant crowd favourite inside a giant hoop spinning herself around the stage. A huge bruise on her upper thigh showed just how dangerous her art is and what it costs to make things look that easy.
Jett Adore’s “Zorro” number combined Latin rhythm with some swordplay which pleased the female section of the audience in particular. A witty reveal under his cape rounded off a smart appearance.
Best duet of the night saw Dita in a hot tango-style duo with a male dancer even better than she is. Over too soon, the sparkling blue dress burned on the eye.
Act one ended with the entire cast assisting Dita to finish atop a giant lipstick emblazoned “Shine Lip Teese.”
Good use of her co-dancers was further made as the second half began with more props. This time a circus theme, Dita playing with cats Tosca and Laslo – the tigers ending up on a revolving ring to applause.
Time for the slight Lana Kai Fox to shine, as she performed two contrasting speeds – breaking from a reflective slow dance with a classic 50s theme to a modern club beat. A slim silver gown entranced in the soft lighting.
Ramping the evening up a gear with a celebration of the classic, Dirty Martini showed why she has become a legend in Burlesque circles, with a bright yellow “Easter Parade.”
Some fooling between McGovern and Tosca, in which she demonstrated another circus skill whipping the rose from his mouth and it was time for the famous finale.
Dita Von Teese in her Champagne glass is her trademark, summarising her outlook on life as the curtains closed on her uplifted arms and pride in herself.
This is an expensively produced show. The Palladium stage given focus by their touring Burlesque Theatre surround of blue curtains and gold footlights. The stage props – cake, lipstick, circus wagon and glass are custom built and beautifully maintained. No expense was spared on lighting or sound, complementing the music and movement to perfection.
The only quibbles the monkey would raise might be that the “hand in the cake” could be more fun if an illusionist taught Von Teese how to produce some of the items without needing the slightly unesthetic opening / closing trapdoors in the sides. Its other advice is either to tone down Jonny McGovern’s voice for the British ear, engage a proper script writer to give him material as classy as the dancers he works with, or both.
For those wondering, there is considerably more filth in Julian Clary’s annual Palladium pantomime outing than in “Glamonatrix.” Only once did McGovern and Dirty Martini stray a little into questionable territory with a tassel routine probably just there to extend the time needed for a scene change.
“Benny Hill” on television in the 1980s contained far more bared and sexualised bodies than this show would even contemplate. “Glamonatrix” is a celebration of dance, the movement of the body, and the creativity of self-expression. You may not be able to take your maiden aunt, but your broad-minded granny will be there and cheering with the rest.
An unusual and glossy event.
4 stars.
Touring the UK and Ireland until 27th March 2022. Details: https://dita.net/shows/.