Burlesque combines circus, vaudeville, opera, and theater for the so-called common folk. The art is derived from classical composers and theater performers as far back as the mid-19th century. One could even say that Shakespeare's plays were burlesques with intrigue, role-switching, and absurd situations. SubVersion Productions turns the dial to 10 with the spectacle that is The Buttcracker: A Nutcracker Burlesque. Sara Scanlon directs a crack ensemble of professionals in a nicely paced spoof of Tchaikovsky's ballet classic. You will need to hold on to your hat and your pasties for a rowdy good time.
The story is the same and possibly a parallel universe with the character of Clara (Amelia Roque) reimagined as an office drone who is tasked with planning the office party to impress the Big Boss (Kitty LaRoux). Roque gives the heroine a cool silent movie heroine buzz. LaRoux rocks as the mean and cruel taskmaster and later plays the Rat King and the coquettish Stage Kitty who cleans up the discarded gloves, tassels, and breakaway corsets between acts. The office janitor (KazMo Universe) transforms into the Nutcracker to embody Clara's fantasy love story. Universe brings a spark of elegance to the show with regal bearing and sinewy movement.
The character of Drosselmeyer is played by the vivacious Harlem Nyte. She shimmies about the stage discarding wigs and pieces of their costume. Nyte is a smash as the ring leader and referee of the performances. The Buttcracker is more than "neoburlesque" in embracing all sizes, shades, and genders. This is not a Showgirls (1995) production or Burlesque (2010). Well, Cher and Christina Aguilera's shows do have a carnival burlesque vibe. The Buttcracker has the color, flair, and tilt that the old-school burlesque did. Every ensemble member is an animation of people from all shapes, sizes, and shades of life. What you would possibly see from Gypsy Rose Lee or Blaze Starr by way of photographer Diane Arbus is what you will get with Buttcracker.
The parade of exotic lands in The Nutcracker is restructured in this show. Mocha Mocha 2.0 represents an erotic and beautiful Africa with Ndebele-influenced neck jewelry and West African adinkra facial decoration. She emerges as a mysterious figure in a hooded outfit and crescendos to glittering pasties and a sheer gold-trimmed scarf. The dance elements of The Buttcracker are graceful and athletic. The Sugar Bum Fairy (a fabulous Chaotika XOXO) appears to be at least 6'7" in white platform pumps. She comes out in a tutu wearing candy necklaces and a candy bead boa. Chaotika XOXO nails the crazed pageant winner's smile and wave before launching some gravity-defying cartwheels and splits. (Where was Bert Parks? The perennial Miss America emcee and random game show host from the '50s and '60s).
The Buttcracker throws in some impressive Busby Berkeley moves with a quartet of snowflakes by way of Sally Rand. (her stage name was inspired by the Rand McNally atlas). Rand was a burlesque icon with her fan-dancing specialty. She would appear to be nude behind two giant fans but Rand was an expert in illusion. The Snowflakes did several performances in glittery harem attire and an abundance of glitter. The quartet was a chorus between solo acts that also did a Wild West meets the Roaring '20s dance in red pants and black fringe and a Rockettes chorus line.
The costumes by Brighid Martensen were stunning and flowing. It may come as a surprise that The Buttcracker has a pastie technician. Kara Fark deserves a shout-out for excellent placement on bosoms and bums. There is a flaming pasties dance that is not to be missed and a gingerbread man costume right out of a plushie convention. Just in case you didn't know, Plushies are people who dig dressing up like giant stuffed animals. Also in case you are wondering, I am from the era squeezed between Douglass Sirk movies and Irwin Allen spectacles starring Charleton Heston in his post-simian phase. There is something for everyone in The Buttcracker and I will never look at Soakie my childhood stuffed elf the same way again.
The choreography by Willie LaQueue is a well-danced and balanced blend of ballet, belly dancing, and good old sideshow hoochie-cootchie dancing. It is fun and empowering to see a cast that embodies the spirit of the art. The scenery from scenic designer Gabrielle Strong is a mix of cheeky and Dr. Seuss. Giant lollipops and candy canes abound with a nostalgic setee for Clara and the Nutcracker to enjoy the Drosselmeyer carnival. I wanted to sit in the Sugar Bum Fairy's giant red velvet throne. Props designer and assistant scenic designer Rowan Doe provided great Victorian and mid-20th century touches. Composer Michelle Isaac wrote new music and some subversive riffs on Tchaikovsky's original score. It is a techno-classical menage that is the perfect accompaniment to the outrageous merriment on the stage.
I highly recommend The Buttcracker: A Nutcracker Burlesque for another holiday tradition to consider. You have to be at least age 18 to enter and 21 if you want something stronger than a bottle of water. The merchandise table has naughty goods for the person who thinks they have everything. Butt-shaped planters and wrapping paper just touch the surface.
The Buttcracker is playing through December 30 at the Greenhouse Theater Center, 2257 N. Lincoln Ave. Tickets are $20-$100; buy them at GreenhouseTheater.org or TheButtcrackerBurlesque.com.
For more information on this and other plays, see theatreinchicago.com.
Did you enjoy this post and our coverage of Chicago’s arts scene and sometimes beyond? Please consider supporting Third Coast Review’s arts and culture coverage by making a donation by PayPal. Choose the amount that works best for you, and know how much we appreciate your support!