Seattle Burlesque Games 2014

•09/18/2014 • 2 Comments


~ Written by/interview by Crystal Tassels, BSP Contributing Writer

To tide us over until the Tournament of the Tease at BHoF – and to raise important funds for the Burlesque Hall of Fame museum – each year the Seattle glitter tribe gathers for a night of friendly competition. The Seattle Burlesque Games are an annual fundraiser and tournament in which performers go head-to-pasties to show off their burly skills. Past events have included tassel (and assel) twirling, fan choreography (without fans for extra ridiculousness), stocking peels, and more. In addition, the Games host the election for the illustrious office of Mayor of Seattle Burlesque. Just like in real politics, people vote with their dollars to decide who the next burly-Q benefactor will be and the election proceeds are donated directly to the BHoF Legends Challenge. Fringe and dollars will fly on September 20 at the Re-Bar at 7pm.

This year’s Games are just around the corner, so last week I had the pleasure of chatting with the effortlessly lovely Miss Kitty Baby about the fundraiser that’s become one of the most exciting Seattle burlesque events of the year.


Crystal Tassels: What makes this event so special on a community/historical level?

Miss Kitty Baby: The Burlesque Games are a sort of community team-building exercise, that’s why they’re so fun. People are coming together to do this thing together, but it’s slightly competitive. It’s like in corporate team-building exercises when you do something out of the norm and you’re competing but still working together. There are lots of opportunities in the burlesque arts for performers to compete with acts that they’ve honed and put craft into, but we want this to be more fun and more casual. Performers aren’t putting their brand on the line here so they can get up, have fun, and play around. That’s why all acts are capped at two minutes in length. We want to keep it silly, lighthearted, and the length of a regular burlesque show. Plus, the short runtime discourages people from bringing acts they already have, though we do encourage people to use costumes they already have, so lots of fun acts are born out of this show (including acts based on Waxie Moon’s dramatic glove removal and Flirty Sanchez’s thrift shop act from 2013).

This year, we have 37 performers and volunteers. The support from the community is overwhelming and it’s really fun to see folks come together. There is a good mix of performance levels and everyone has a task. We’ve never had to turn anyone away to participate. In 2012, Waxie Moon was a judge and then was dying to compete. Jamie Von Stratton did an epic ribbon dance to “Xanadu” the first year for the opening ceremony. Then she was a judge, and now she’s competing in the “Dramatic Glove Removal” category. She’s a ten-plus year performer who’s super successful and she’ll be up there with brand new performers. People come back every year, even in different capacities, because they love it.

CT: How has the show grown or changed since the first time you held it?

MKB: The categories have changed a bit. We took a poll of the performers that participated last year to see what they felt should be kept or cut. “Dirty Bump and Grind”, which was nixed last year, was the most popular category to be brought back. So now we have a “Dirty Dirty Stripper” category.

Twerking was the finale event for the first two years. We acknowledged that it wasn’t necessarily related to burlesque but that we wanted to do it because we’re perverts. But if it isn’t something people normally do in their choreography, not a lot of people are jazzed about it. There will be no twerking this year.

CT: Any highlights from previous years?

MKB: The most unexpected highlight has been how wonderful the Mayor of Seattle Burlesque has been each year. We originally created the role as a publicity stunt, and many other cities have burlesque mayors. The candidates had to campaign and fundraise for the Legends Challenge in order to win. Our first mayor, EmpeROAR Fabulous!, said that people were coming up and asking him what he was planning on doing with title when he won the election. So we set up some loose guidelines and asked that they wear their sash at BHoF and Pride, and do one thing to raise funds or awareness for BHOF at some point during their year as mayor. Our last two mayors have gone above and beyond that. This year, we had advanced voting through Brown Paper Tickets and have already raised as much as the candidates did last year at the show itself.



CT: What about the cause? How does the fundraising aspect affect the show?

MKB: First of all, there is a huge level of gratitude from producers who get people to donate their valuable time and talent. Sometimes, in the case of charity events, the cause is more important to the producer than it is to the performer. The Burlesque Games is benefitting BHoF and the Legends Challenge, so it feels more inclusive to everybody. We’re doing this for our own good, even if it just perpetuates the idea of the Burlesque Hall of Fame. So many people want to participate for this cause, so we designed this so that the maximum number of people could be involved. We wanted it to allow for many more people than the standard eight performer burlesque show.


Get your ticket to the Seattle Burlesque Games and don’t forget to cast your votes for the Mayor of Burlesque!

A Glitzy Legacy and Elephant Couture: BurlyCon Chats with Bic Carrol (Part II)

•09/15/2014 • 1 Comment
Costumes by Bic

Costumes by Bic Carrol

Last week we ran the first half of an interview between our comrades-in-glitter at BurlyCon and their 2014 Living Legend Guest of Honor, showman extraordinaire and two-time Vegas Costumer of the Year Bic Carrol. (Thanks again to Czech Mate and the BurlyCon team for this fabulous interview!) ~ Crystal Tassels

Part II – Costuming & Career

Czech Mate: After years of producing and performing, you started a very successful career in costuming, designing for Siegfried and Roy, the Ringling Brothers Circus and the Ice Capades. How did you transition from exotic dancing into professional costuming?

Bic Carrol: Producing at the Follies Theater in Chicago, we did a brand new show every week. That meant 16 new costumes: eight for each production, and everyone had a double. My budget for 16 costumes was $25 a week. That had to include the music, too. If a light bulb went out, it came out of my budget.

Because I had to make so many costumes, in my off time I would learn from Tony Midnite, a famous burlesque costumer. Then later when I was in New York I would take my son with me in his crib and work for free in the daytime in the Latin Quarter costume shop. I even apprenticed with the last feather dyer that worked for MGM studios in Hollywood.

I’ve always loved making girls beautiful on stage. Because I learned a long time ago it doesn’t matter what you do, as long as you look fabulous!

Chimp Act Sue & Rudy Lenz  (Ringling  Brothers Circus)

Chimp Act Sue & Rudy Lenz (Ringling Brothers Circus)

Sue & Rudy Lenz   Ringling  Brothers Circus

Sue & Rudy Lenz (Ringling Brothers Circus)

CM: How did you win the Las Vegas Costumer of the Year award not once, but TWICE?

BC: When I won the award for best costumer, I dressed that show like I was dressing burlesque. If they couldn’t wear it, they drug it! As long as it was glitzy, that’s all that mattered.  One reviewer said it was the only show in Las Vegas where you come out whistling the wardrobe. I thought that was the greatest compliment.

The next year I did Siegfried and Roy, and I won an award for them. But it was all strictly by accident. I found that I knew more than I thought I did. A lot of it was that you have to do costumes with a little budget and you have to get the maximum effect. You learn so many tricks over the years. I never planned on costuming.

White Feathers Legends in Concert  (Imperial Palace,  Las Vegas)

White Feathers Legends in Concert (Imperial Palace, Las Vegas)

Under the Sea Trio  (Steven Frey and dancers)

Under the Sea Trio (Steven Frey and dancers)

CM: You’ve created hundreds of dazzling costumes throughout your career. Do you have any favorites?

BC: Nope.  I hate ‘em all. One day Tony Midnite and I tried to figure out how many g-strings we had made in our lifetime. We just said, “Oh my God, how many thousands!”

But a favorite to make? I just love doing circus animal costumes. They’re big, they’re gaudy, and they read from a mile. Especially the circus blankets for the elephants, because I get to sequin them and they’re gigantic. And the elephants don’t complain when you do a fitting. They just let you climb all over them. They don’t give a shit.

I’ll tell you a cute story. A circus asked me to make a top hat for a Dumbo production. They wanted a big top hat to fit on an elephant. So I made it. It was five feet tall. Well, the elephant, Carol, whom I really loved, before she would go on stage there was a big mirror on the wall. No matter when the music played, she would have to stop and look herself in the mirror. If they had not put that top hat on her right, she would NOT go into the ring. We used to laugh at that.

Carol the Elephant and trainer George Hanneford  (Hanneford Circus,  Florida) costumed by Bic

Carol the Elephant and trainer George Hanneford (Hanneford Circus, Florida) costumed by Bic

CM: We’re going glitter-crazy waiting for your “Easy Tips for Burlesque Costuming” class. What do you have in store for us sparkle mongers?

BC: Think of Carol Burnett ripping down the curtain and making a gown – that’s what I want to show you how to do. I want to teach how to use things that you can afford. Things that you have lying around the house, that you never dreamed you could make a costume out of. Things that won’t cost you a ton of money, but on stage will look brilliant. Because most of the time, girls now have to do new acts all the time. They don’t have the money to invest $1,000 or $2,000 in a costume.

Bellouise, from Bic's show in Asia

Bellouise, from Bic’s show in Asia

CM: Is there an easy costuming trick you’re willing to share with us now?

BC: I learned a long time ago – this is a strange trick, and it goes for makeup too – to take Aqua Net and you spray your mirror.  When you look in the mirror, and your costume looks perfect and your makeup looks perfect through the Aqua Net, then you know it’s going to read. Because what you see in the mirror does not read from 20 feet away. The Aqua Net diffuses that. So put it on your mirror, and look at your makeup. You’ll say, “Okay that doesn’t read, I need to use more.” You’ll know what’s going to happen under the lights. Just an old vaudeville trick.

What’s sad is there are no places outside of BurlyCon where you can learn these kinds of things. There is no more burlesque circuit. There are no more legitimate clubs. But I want you all to be fabulous.

Bic Carrol Costume

CM: Which is why we are so thrilled to have you at BurlyCon this year. What are you looking forward to most?

BC: The moment when I teach (and I’ve taught since 1954) and I se a smiling face and a sparkle in the eye, and I reach one person’s creativity – when I know that they’re going to take whatever I told them and they’re going to go out and experiment. One of the things wrong with the girls today is that they don’t experiment! They’re too busy copying what they think is right. There is no right. Not even in costuming. It’s whatever works. I want them to go away from BurlyCon thinking, “Maybe I didn’t learn anything, but I learned how to learn something. I learned how to experiment.” That’s the most important thing.

With my revues, I never hired the best dancers. I hired the ones who sparkled. Because I could make you look good. You could look wonderful, but if you didn’t have sparkle, if you didn’t enjoy it, it wasn’t going to do any good. I think you have to really love what you’re doing. I’m hoping these kids come to BurlyCon and want to learn and want to do something with it. You have to ask, what will I do after BurlyCon? What is the next step?

I want, before I die, to pass this knowledge on. I don’t want it to be lost.  I want somebody 20 years from now to be saying, “You know what happened? I can tell you what really happened.” That’s the whole purpose of my even going to BurlyCon.


Catch Bic’s BurlyCon classes “Burlesque and the Mob”, “Easy Tips for Burlesque Costuming” and “My Life in Show Business” at BurlyCon 2014, Oct. 9-12th at the DoubleTree Hotel in Sea Tac, WA. Visit for more information.


BurlyCon's 2014 Living Legend Guest of Honor Bic Carrol

BurlyCon’s 2014 Living Legend Guest of Honor Bic Carrol

Snakes, the Mob, and Stripping in the ‘50s: BurlyCon Chats with Bic Carrol

•09/06/2014 • Leave a Comment


~ intro by Crystal Tassels, BSP Contributing Writer.  Interview by Czech Mate

Each year, our friends at BurlyCon – that sparkliest of conference weekends – invite burlesque legends and critical community members to be the conference’s Guests of Honor. (Previous guests have included the late Wild Cherry, Julie Atlas Muz, and Toni Elling, to name a few.) These individuals have shaped the way the art form has developed and offer their extraordinary stories and experience to the Con’s glitter-loving attendees.

This year, BurlyCon brings us three unbelievably fabulous Guests of Honor: belly dancer Princess Farhana, producer Jen Gapay, and living legend Bic Carrol. The following interview comes to us courtesy of the lovely Ms. Czech Mate and the BurlyCon team.


Part I: Early Life and the Mob

He’s danced on Paris stages wearing nothing but boa constrictors given to him by Zorita.

He’s choreographed shows around fan-dance icon Sally Rand, learned comedy from Redd Foxx and Lenny Bruce, and created award winning costumes for Siegfried and Roy, the Ringling Brothers Circus and the Ice Capades.

He’s Bic Carrol, and BurlyCon is proud to present him as our 2014 Living Legend Guest of Honor.

Bic is an internationally renowned revue producer, choreographer, and costumer. He’s considered one of the first male strippers and a godfather of boylesque. Bic is presenting several standout classes at this year’s BurlyCon: “Burlesque and the Mob” (yes, the MOB), “Easy Tips for Burlesque Costuming” (he’s a TWO-TIME Vegas Costumer of the Year) and “My Life in Show Business” (Snakes! Sequins! Strippers! Oh, my!).

As BurlyCon sits down for a phone interview with Bic, he’s in his Vegas home, getting ready for a dinner party fellow legend Tiffany Carter is hosting for Austin-based troupe The Jigglewatts. He’s just stepped out of the shower, and in true burlesque fashion, he starts our interview wearing nothing but a towel.

CM: You’re this year’s BurlyCon Living Legend Guest of Honor! How does it feel to be considered one of the first male strippers, a living legend AND a godfather of boylesque?

BC: First of all, Tigger is going by the “Godfather of Boylesque”, so I guess I’m the GRANDFATHER of burlesque. I never considered myself a stripper, I considered myself an exotic performer – because I never wore enough to start with!

It’s all very interesting because I hid all that for so many years when I wanted to have a legitimate career. I didn’t even think about it until a couple of years ago when it became acceptable. Now it doesn’t bother me, but 20 years ago you wouldn’t dare mention anything like this, that this is what you had done and this was where you had started. I think it’s hysterically funny. If you would’ve told me I basically started boylesque back in 1954, I would’ve told you you were crazy!

Bic in the '60s

Bic in the ’60s

CM: You went from being a farm boy to teaching strippers to dancing in a nude revue in Paris all by the time you were 21. At a time when other male dancers refused to perform in g-string, what made you willing to dance naked on stage?

BC: Well, I became a father at the age of 20, and the girl did not want the baby. Being a good Catholic Italian boy, I decided to keep it. All the strippers were like second mothers. They helped me so much – I could not have gone through it without the girls helping me.

In those days it was almost impossible to be a single father because the child welfare people were always on your back. Either I kept moving every three or four weeks to keep away from them, or I left the country. So I left the country.

I had two snakes, a 6-month old under my arm, and off to Paris I go. There was no choice. I couldn’t raise my child in the United States because they’d try to take him away from me. When I went to Paris the only place I could get a job was Chez Noir, and you were completely nude there. It was all for the money. It never bothered me because the whole show was nude. My snakes were my cover.

CM: Most people dance with feather BOAS. You’ve danced with BOA CONSTRICTORS. Any advice on performing with snakes?

BC: DON’T. That’s my advice. When they get up to 10 or 12 feet in length and weigh around 100 pounds, it’s dangerous.

After I’d been teaching strippers and choreographing features for a while, Zorita finally said, “Look, you need to do your own acts,” and she gave me two snakes. Only later did I find out she gave me the snakes because they’d gotten so damn big she couldn’t work with them anymore! So I started doing snake acts when I got out of high school, as well as teaching.

CM: Sally Rand, Redd Foxx, Tura Satana, Lenny Bruce, Zorita – you’ve worked with them all! Who are some of your favorite entertainers you’ve worked alongside?

BC: Sally I first worked with in Calumet City, Ill. when I was 17. She was a wonderful crazy lady and she had fun being a grandma to my little boy. Tura Satana I have also known since I was 17, and we were always great friends through the years. Redd Foxx was a delight, Lenny Bruce and Honey Harlow were good friends of mine in Chicago, Zorita was a crazy woman, but I loved her – these people took me under their wing.

My very favorite was Bubbles Darlene. She was THE superstar in Cuba. She told jokes while she stripped and everyone loved her very, very much. Carrie Finnel was another dear favorite of mine in New Orleans, another “mom” who babysat my little boy.

But they were all my favorites. There were very few I could say I didn’t like, because we were all in it together. It was what we did for money – we didn’t do it for fun.

CM: “Burlesque and the Mob” is already one of the most talked about classes at this year’s BurlyCon. Was the mafia’s influence on burlesque in the 1950s and 60s as dangerous as it sounds?

BC: Yes, yes it was. There was no such thing as not working for the mob. I don’t care what anybody tells you. It was strictly mob-controlled. You did as you were told. You got paid well. As long as you made them money, then you made money.

One of the things I’m going to teach you in the class is how to B-drink. Because if you didn’t B-drink, you didn’t work.

CM: What’s B-drinking?

BC: You don’t know what B-drinking is?! (Bic laughs) Well, the average salary for a house girl in the 50s and early 60s was only $15 a night. But you got a $1 from every drink that was bought for you, and you got $10 for every split of champagne that was bought for you. But you didn’t really drink it – you faked drinking it, otherwise you would’ve been stoned! That’s how we made our money.


How did Bic go from dancing with boas in Paris to designing circus costumes for elephants? Find out in Part II of our BurlyCon interview, coming soon!

Catch Bic’s BurlyCon classes “My Life in Show Business,” “Burlesque and the Mob,” and “Easy Tips for Burlesque Costuming” at BurlyCon 2014, Oct. 9-12th at the DoubleTree Hotel in Sea Tac, WA. Visit for more information.

Bic Carrol

A conversation with Sara Dipity on Star Trek: The Sexed Generation

•08/31/2014 • 1 Comment

Star Trek web

~ Written by/interview by Paul O’Connell (POC Photo)

This Friday and Saturday (September 5-6) at Annex Theatre, Songbird and Raven bring you Star Trek: The Sexed Generation. It was only a matter of time before the Seattle nerdlesque scene rallied to produce a show entirely dedicated to the exploration of the final frontier. Like many other burlesque/nerdlesque shows of late, The Sexed Generation is fully scripted. Songbird and Raven is the realization of a dream shared by Sara Dipity and her partner Jacob Farley, who both obtained degrees in theatre (Musical Theatre and Theatre Arts respectively). BSP recently did a story about Sara and her involvement in Tassel Talk: A Peer Review. With a glass of Tranya in hand, I asked Sara about Star Trek and her new production company Songbird and Raven:

POC: Why Star Trek?

SARA: We adore it! Jacob grew up on Star Trek: The Original Series, while I caught Star Trek: The Next Generation in syndication every day after school. In 2013 we decided to watch all of Star Trek together; all six series (Original, Animated, Next Gen, Voyager, Deep Space 9, and Enterprise), and all 12 movies. I had already co-written The Last Burlesque Show You’ll Ever See and was about to co-produce Indiana Bones and the Lips of Destiny, two shows that melded burlesque and theatre. Star Trek seemed like the perfect canon to tackle; the episodes range from comical to deep political-social commentary, so we can explore gender, sexuality, self-worth, and power… and also make ridiculous jokes about Riker’s sexual prowess and Troi’s “psychic whammy.” As the incredible Crystal Tassels wrote about the show, it’s a space-age cultural study in tassels and sequin!

I had toyed around with the idea for a long time, about a year, with Jake always being supportive. I spoke about it with a lot of people and producers I trust and admire until finally I got a kick in the pants from Sailor St. Claire in the form of, “Yes, you can totally do this. Ask Annex for space.” I formed a little snowball of an idea, and she helped me push it down the hill. (Thanks, Sailor!)

POC: How did Song Bird & Raven come about?

SARA: Upon graduation Jacob and I found ourselves thrust into the economic downturn and recession. We both scurried to find jobs while doing our art on the side, and continued on this path for some time. In August of 2013 I felt like I met a breaking point. I found myself saying, “Well, I’m starting my fifth year in a job that I didn’t plan and don’t love. My B plan somehow became my A plan.”

We went into a discussion of dreams; what we wanted, what are strengths were, where we saw ourselves in 10 years, etc. That conversation revealed a vision: I wanted a production company. One that would produce quality work using our shared skills. One that would tell stories not often told. One that would elevate the art forms that I’ve been studying since I first took the stage at age five. We set to work. The goal, produce one stellar show combining our shared love of musical theatre, comedy, dance, and of course; burlesque and Star Trek. And here we are.

POC: What are your plans after Star Trek?

SARA: We have a ten year plan set. We’re solidly in year one. Year two, 2015, involves three burlesque shows: Broadway Babes: A Burlesque Tribute to the Great White Way (at Annex Theatre, March 20-21), World Cups: Burlesque in the Wide World of Sports (location TBD, June), and Star Trek: The Sexed Generation II (tentatively titled “The Wrath of Brawn,” at Annex Theatre, September 10-12). In 2015 we’re also looking to produce a sketch show featuring exclusively female writers and performers, as well as a full length straight-play.

After that? We expand as we can, producing a mixture of theatre, burlesque, and sketch. Our eventual goal is to own a space – to give the Seattle artistic community the space they deserve, with all the bells and whistles (and lights and sound and trapeze rigging etc.) that we can. We’re driven to create a community space; a place for artists to put up their best work, and for the Seattle public to consume it. Our space will be a love letter, a tribute, an offering to Seattle; the best place we’ve ever called home.

POC: Finally, Kirk or Picard?

SARA: I grew up with Picard. He’s strong, diplomatic, smart, dreamy, and Patrick Stewart is an incredible actor. Kirk on the other hand is scrappy and resourceful…and also dreamy. Everyone on the original series is dreamy! Ack! I don’t know! Picard! Kirk! Picard! Kirk! Janeway! Picard! I can’t decide!


Incidentally Songbird and Raven will be taking over producing duties for the show Revelry, as current producer and founder Queenie O’Hart is leaving us for New Orleans.

Star Trek: The Sexed Generation

Featuring Performances By:
Lady Drew Blood
Sailor St. Claire
Scarlett O’Hairdye
Al Lykya
Bolt Action
Maxie Milieu
Jesus la Pinga
Crystal Tassels
Olatsa Assassin
Eva Fairwood
Miz Melancholy
Briq House
Sin De La Rosa

Also Featuring:
Maggie McMuffin
Magnolia Monroe
and Verity Germaine

Star Trek: The Sexed Generation

Stardates: 8:00 PM, September 5-6, 2014

Coordinates: Annex Theater, 1100 East Pike Street, Seattle, WA 98122

Get tickets HERE.

songbird & raven logo_ actual-1

Picks of the Glitter: Black Lodge, Star Trek, and more…

•08/26/2014 • Leave a Comment


We’ve had a busy summer here at BSP and though we’re loathe to admit it, fall is just around the corner. A few noteworthy niche shows have caught our eye to end the summer, ushering in the fall burlesque season and of course the advent of BurlyCon.

First up, our favorite creators of the weird and wonderful – Sign of the Beast Burlesque and Go Go Rocket Productions, hailing from Portland – are returning to Seattle for another glorious round of Black Lodge Burlesque: Cabaret Inspired by David Lynch. This time around your awkward host the Log Lady and a carefully curated cast of Lynchian misfits will be at the Columbia City Theater, undoubtedly imbued with extra magic from the Twin Peaks-y red curtain that lives on stage there. This year features a costume contest, a Lynch-themed baked goodies table, raffle tickets and prizes, and a who’s who of some of Portland’s best burlesque and aerial artists.

I’ve always been a Wild at Heart fan myself, but the surreal Lost Highway inspired telephone act a few years back stole the show. Don’t miss it.

Black Lodge Burlesque: Cabaret Inspired by David Lynch

Friday, August 29, 2014

Columbia City Theater

4916 Rainier Ave S, Seattle, WA 98118

Featuring performances by:

Baby Le’Strange

Miss Alex Kennedy

Hai Fleisch


Mister Fogues

Hyacinth Lee

Vera Mysteria

Meghan Mayhem

Dylan Hillerman

Jolene Dickerson

Man Johnson


Early show doors open at 7pm, early show begins at 8:30pm.

Late show doors open at 10pm. (Please note that the doors may open a few minutes late depending on the running time of the previous show), show begins by 10:30pm.

General admission: $15




Incidentally, Portland’s Baby Le’Strange will be sticking around to appear at the Pink Door on Saturday, August 30. “The Glittering Misfit of Burlesque” always takes her acts to levels of bizarre you didn’t see coming…squirrels? Hot Dogs? Donuts? You never know where you’re going to end up when Baby takes the stage. Check her out at Black Lodge and the Pink Door, and visit her here:




Next week, Sinner Saint Burlesque will be at the Vera Project in another of their series of community showcases leading up to new production Inheritance: Maiden, Mother, Crone (October 9-19 at the Theatre Off Jackson). Get tickets to the Maiden Show September 4, and read what this constantly evolving group of women states are the top seven reasons why they have been producing community shows, not burlesque shows, this summer:




Finally, September 5-6 Star Trek: The Sexed Generation glides into the Annex Theater. The show is a fully scripted burlesque adventure that unfolds aboard the Starship Enterprise. If you’re a Trekkie, this is your wet dream. Here’s a little sneak peek from the producers, Songbird & Raven:

When a mysterious force alters time and space, the crews of Captains James T. Kirk and Jean-Luc Picard find themselves united on the Enterprise. Something is clearly amiss, as the crews seem unable to repress their own deepest desires, resulting in some terrifically bawdy, though highly illogical, hijinks. Could it be a nefarious space gangster? The all-consuming Borg? A gaping inter-dimensional rift? Only Starfleet can get to the bottom of this.

In true “nerdlesque” fashion, The Sexed Generation goes beyond mere parody to explore the series’ treatment of gender, identity, and sexuality. The cast boasts some of the most established nerdlesque performers on the West Coast, including Geek Girl Con favorites Scarlett O’Hairdye and Sailor St. Claire. Through gender-bending and storytelling, the stars tease their way through questions of queerness, power, and sex in Roddenberry’s future utopia. It’s a space-age cultural study in tassels and sequins.

Star Trek: The Sexed Generation

Stardates: 8:00 PM, September 5-6, 2014

Coordinates: Annex Theater, 1100 East Pike Street, Seattle, WA 98122

Starring: Al Lykya, Briq House, Bolt Action, Crystal Tassels, Eva Fairwood, Jesus La Pinga, Lady Drew Blood, Maxie Milieu, Miz Melancholy, Olatsa Assassin, Sailor St. Claire, Scarlett O’Hairdye, and Sin De La Rosa

Get tickets HERE.

Star Trek web

%d bloggers like this: