This is an invite only page. For producers and club promoters to get a feel for my upcoming acts I'm updating this page with prop arrival times, costuming updates and choreography timelines.

THE LITTLE DEATH - BACK TO BLACK 5:02 (MACABRE BURLESK)
(MUSIC - Amy Winehouse's Back to Black [short])
PROPS - a large mirror, chair, table, telephone, picture frame, flask, ash tray

The Story:
Seemingly traditional burlesque with a macabre overtone. The married man cuts the Mistress loose - leaving her broken and weak. She somberly dances with and strips from her "uniform" to reveal her glam underpinnings. She sets up her final dance - drinking from her flask and smoking as she ties herself up and learns to seduces herself in well slicked latex gloves - back to black. (Can also finish with 2nd performer entering the scene and assisting me in my reintroduction to myself (involves breath play/choking)

Costuming:
Black Diamond Trans latex lingerie set by Simon O (stockings, thong, bra, garter belt)
Black 60's cowl necked latex shift dress by House of Bias (that reveals in two pieces.
Armpit length black latex gloves

VON THE BAPTIST 8:14 (FETISH - A Rubberist's religion)
(MUSIC - Hole's Credit in The Straight World Intro; Massive Attack's Stinkfist Remix; Yeah Yeah Yeah's Date with the Night)

PROPS - PREPLACED: White plastic tarp; Insanely huge clear bowl/tub/vat filled with white liquid latex; A small bowl filled with water; Gas Mask; Heels: White rope.

The Story:
"Von" the Baptist is a tale of a devout "believer" in training. The scene begins to the music of Credit in A Straight World by Hole - "Von" enters the stage dressed in a gauzy, semi-sheer, white exaggerrated version of a Byzantine sleeping chemise and veil. She's carrying a white dildo cross, bible, glass of milk and plate with a bit of white bread.
She stands/kneels in front of the items on the tarped area. She covers her face with the gas mask and begins the process of satirically baptising herself - the reading of her prayers; drinking of the blood (Milk) and eating of the body (Bread) of God; and finally the acknowledgement of Christ (cross dildo is "introduced") all while dancing.
She washes her feet in the smaller bowl before removing her gown - revealing her completely unclad body and masked face. She submerges herself in the clear tub of liquid latex - completing the baptism and continuing to play in the slick white fluid until she is completely covered, masked head to her naked toes.
She removes her mask (her shield) and immediately falls into guilt for enjoying her new devotion to Rubber and repents by whipping her back while go-going her naked, liquid latex clad ass off.

What it all means:
Borrowing from my background as a Southern baptist and Christianity's exclusivity in regards to belief, exposure and practice, Von the Baptist illustrates the parallels found in sexual modernity and religion. The viewer is welcomed to draw into the ritual of this exploration of Von, who clearly is made impervious to any other form sensuality and enjoys this new indulgence as her only indulgence. It is only when she is left with the aftermath of her play - unshielded and alone - that she realizes how vulnerable she is without her "relic" emblazoned not around her neck but, around her entirely. She reverts, as we all do, when fall a little further than we expect.

PYGMALION (short) 6:32 (FETLESKA = Fetish/Burlesque)
(MUSIC - Martin Denny's Quiet Village x Yann Tiersen/Gotan Project x Muse's Feeling Good)

PROP - 40" H Lifesized Egg (prop arriving 10/27/06), 2 large bushy areas of faux foliage

The Story:
The Native Woman is birthed from nature, emerging from an egg in the middle of the forest. She slithers from her old habitat, clad in a cowl-necked latex catsuit. Newly understanding her body she dances out of her "skin" leaving herself truly bare (nude pasties and g-string covered in Swarovski). There's a sudden change, out of the bushes emerges a safariman - he snatches her up quickly. After binding her with rope in an effecient hogtie, she is thrown into a chest and stamped for shipment.

!! THIS SHOW HAS ALTERNATE ENDINGS !!

BURLY ENDING - When the Goddess arrives in her newfound home she's met with a team of dressers, maids and teachers. They remake the demiGoddess over in the most civilized manner to take stage as the most daring spectacle yet - the exotique.

FET ENDING - After arrival, the little captured girl is remade most provocatively. Clad in a stiff white leather neck-corset and chastity corset (both custom made by Jeroen of BiazarreDesigns.nl - arrived 4/20/06) she is restructured for enslavement becoming a revisioned version of an Eric Stanton caricture.

COSTUMING - Has been denoted above.

LOVE ALWAYS, ME 5:50 (BURLESQUE)
(MUSIC - Chet Baker + Charlie Parker's Summertime x Intuition (Jazz lick) )

PROP - Double-side traincase covered in glitterdust and large enough for me to fit into. (Being glitter dusted until 10/20-22)

The Story:
I've grown so lonely for my love, who, unfortunantly is long distance, that I decide to ship myself to him in my train case. When I arrive, he's off being the bread-winner so, the maids bring the goods in and are obviously surprised when they open the shipment to find me!

I make my entrance, ask the helper dolls to make preparations before I begin to undress in the classic burleska fashion - teasing off every little sliver of my clothes (to pasties and g-string) languidly taking my time and consequently running late! The redressing is rushed ala shimmy style to the end in hopes everything will be perfect before his arrival.

When he arrives, I sing a little ditty about 45s long proclaiming my love for the man I've missed.

COSTUMING -
The travel set: An Audrey Hepburn-esque set of high waisted capri pants and a bateau necked top, ballet flats, short gloves and a scarf.

The redressing set: A 6-garter corset with corded hips and "bullet" pasties by Lovesick; An evening gown length robe with 4' long train trimmed in marabou, stockings, short gloves, panties and semi-sheer bra.