Harry Potter’s Burlesque Birthday Party – July 31 at the Rio TheatreLord of the Schwings REMOUNT – August 18 at the Rio TheatreTenacious D Burlesque Tribute with the Hot & Heavy Band – September 1st at the Rio Theatre
Geekenders recently returned to the Rio Theater with an entirely rewritten script from the second of their Star Wars parodies for a remount. Three members of the Living Myth offices were invited to come in and take a look: CEO and founder, Aaron Golden, COO and head of everything, Anne Honeycutt, and newcomer Meghan Duffy. All three loved what they saw, though they came at their enjoyment from very different places.
Aaron Golden says:
Star Wars Episode V: The Empire Strikes Back shouldn’t work.
Narratively, it looks like nothing happens: Luke leaves his friends and goes to a swamp, then goes to Cloud City and walks into a trap. Han and Leia and the rest leave Hoth, run from the Empire, run from the empire some more, and then get caught by the Empire. That’s it. That’s the movie.
And yet people seem to think it’s the strongest of the Star Wars films.
With only a bare scrap of plot, Empire has managed to carve a place for itself in the cultural consciousness, digging deeper than Episode IV did and only facing arguable competition for “Best of the Star Wars” movies by Rogue One.
The reason for this?
Empire is nothing but character development. There’s enough nuance and subtext in that movie to make the first movie stronger and set the stage for Return of the Jedi and everything to follow. We learn how powerful the Empire is and that a single military loss isn’t going to slow them down. Luke learns about himself, his family, and the Force. Han and Leia develop an actual relationship that looks to end in heartbreak. Lando…
Lando is introduced and becomes one of the most subtle characters in the whole series. A con man forced into an untenable position, he tries to drive Han off through insults while not putting his city in danger. When the Empire betrays him he’s got plans and backup plans ready. He’s a perfect shade of gray, a character in the heart of Han Solo, and he adds complexity to an already complex series of relationships.
The problem with parodying Empire, then, lies in its threadbare story. This lack has haunted previous attempts to lampoon this movie, but Geekenders does the tale right by not only acknowledging the weak plot but outright attacking it while focusing on the main characters and giving them even more depth. This is a new, punnier script, and once the curtains go up and the text crawls up you know you’re in for some insanely funny sensuality.
Luke’s farm boy idiocy, his “I’m playing a barbarian and maxed out my charisma stat,” is in full effect here as Draco Muff-boi returns to the role with their usual charm and makes Luke irritably likable. Stephen Blakley adds a note of desperation to his relationship with Jayne Fondue’s regal Leia, creating balance in their relationship and making his world-weary sense of genre-savvy impossibly more wry.
R2DoubleD and David Ten-Inch add surprising pathos to the droids and Androsia Wilde plays Lando with all of the aforementioned complexity that the character deserves. Veronica Vamp slays as Darth Vader, Kitty Glitter is riotous as Chewie, and Lithium Little adds a touch of spiritual sexuality as Yoda, but it’s the comedic turn of Seamus Fit-It-In as Boba Fett that hit the audience out of nowhere, pushing the crowd into a fit if hysterical giggling.
This was perfect. The Empire Strips Back takes everything great about the source material and celebrates it while adding a unique spin to each character and giving everyone a moment to shine. Even the Storm Troopers have personality here, and every moment Susan the Storm Trooper is stepping out of line is an utter delight.
Geekenders returns to the Rio Theater with two performances of the Empire Strips Back on May 26th and 27th, with doors opening at seven and the show starting promptly at eight. The showing we saw was completely sold out, so you’ll definitely want to order tickets in advance, which you can do by clicking here. Tickets are $20 from the interwebs or $25 day of the box office.
Anne Honeycutt says:
I have said this before but I don’t think I will ever get tired of saying it, this is the best season Geekenders’ has ever had. It is not an easy feat to sell out The Rio theatre, and it is certainly not easy with doing a remount but the Geekenders Star Wars shows are an institution.
With a newly punched up script, revamped choreography and dazzling costumes the show has been transformed into a delightful geeklesque masterpiece. You can tell that they worked so hard on this and it has paid off. They have been tireless in their goals to make burlesque a safe welcoming experience for all involved. Risque but respectful humour; permission to explore and enjoy the human form in all shapes, sizes, creeds and ability; and above all else celebrating the spirit of rebellion from oppression one shimmy-shake at a time.
Meghan Duffy says:
You won’t find their number written in a bathroom stall, but if you are looking for a good time I would highly recommend Geekenders’ Star Wars Burlesque: The Empire Strips Back.
Somewhere over the roaring of the crowd, amidst the whistles and woos, the sound of my proverbial burlesque cherry being popped could be heard as I squealed with delight. It was a scream, a blast, a show I hoped would never end. Squishy feelings aside, I want to talk about the performers. This is a production where you can really feel the amount of dedication and hard work poured into it.
Spoiler – it’s a lot.
I really felt the passion, the love, and the joy from everyone who was on stage, regardless of how much time they spent up there. It was the epitome of heart and soul.
Vader’s performance is one that stands out to me. Played by Veronica Vamp, Vader’s act was one that will be hard to dominate. There is something to be said about seeing Darth Vader played by a drag queen strutting and bouncing across the stage to NSYNC’s “Bye Bye Bye”. Whatever that thing was, it seems to have escaped me as I was – and still am – totally lost in amazement.
Though I have to say my heart could not remain faithful this evening – among the fabulously sexy Stormtroopers, the smoldering Han Solo, the raunchy Chewbacca, there was R2D2 (Played by R2DoubleD). Bouncy, bodacious, beautiful R2D2. Gliding around the stage like some sort of sexy droid angel, equipped with roller skates for the entire performance – an impressive feat. The skates definitely added a special flavor to dance numbers and general background tomfoolery.
There is a scene where the song “Somewhere Out There” (as many of us know from An American Tail/Fievel Goes West, and part of me wishes they had used those versions) comes on, and it’s something special. As seriously as you can take a blue haired woman on roller skates whipping around with a gold-clad man in tow, this really tugged at my heartstrings.
Judging by the audience, it tugged them too. There were a few people around me singing along to the music, and I won’t lie, I did as well. There were quite a few songs to sing along to. Each number inspired a silent – and sometimes not so silent – cheer from me, the nostalgia is strong with this one. There was a perfect level of audience interaction that I found delightful, just enough to make it fun but the performance didn’t depend on it.
I don’t want to spoil anything, but make sure you get your throwing arms ready. The only thing that didn’t quite sit right with me was one small joke where C3P0 was compared to Sheldon Cooper, but then again I was never a fan of Big Bang Theory.
Overall this was a fantastic performance. A wild ride, much like a mechanical bull bucking ‘twixt your legs on a steamy Friday night.
All photos credit Pierre Chum
It’s a cool night in late April, dark skies threatening rain, but we’re braving the weather to go to Granville Island and check out the latest offering from Toofly Productions, Robin Hood: the Prince of Tease. It’s a punny name being produced by a punny company and promises to be a punny burlesque take on the classic tale of a thief that robs from the rich and gives to the poor.
There’s something about this story that makes it persist – the idea of the rich stealing from everyone and giving to themselves has plagued western society since before the dawn of scarcity economics, and the tale of a man stealing from those wealthy thieves to give back, of fighting a corrupt system that steals everything and leaves no voice to the most helpless, is just as relevant these days as it has ever been.
So, we’re excited. Toofly is a recent invention, the dream of Alan Pronger. He wanted to create a means of producing the weirdest ideas he could find, of taking concepts too strange for other companies and making them reality. They’re a non-profit for emerging artists that specializes in exploring the absurdity of modern life.
This makes the Performance Works Theater a perfect venue for them – a place located on the tail-end of Granville Island, it was a machine shop that opened almost a hundred years ago and changed into a rehearsal and performance venue a little under thirty years ago. You might say the building’s purpose was stolen, it’s meaning gone for practical to absurd, and you would be right.
Robin Hood: Prince of Tease lives up the expectations set by both
The story takes quite a lot from the old Keven Costner movie with gender-flipped characters: Prince Joan has taken control of unspecified European country after hearing the news that King Richard and Robin of Loxley are dead. She kills Robin’s father, blinds his man-servant Winkin, taxes people into near death and spends all the money on himself. The opening set-up borrows as much from Game of Thrones as from its source material and is self-aware enough to call themselves out in, self-awareness being one of the best parts of Burlesque performances.
We then follow Robin as she escapes from BDSM land with the help of a Benny Hill sequence, meets Oddman Out, and the two of them travel together to get back to unspecified European country. They discover what’s happened in Robin’s absence, Robin recruits her people, and they start robbing from the rich and giving to the poor – but the conceit here is that everyone fights through dance, a thing that Robin excels at and Oddman Out doesn’t quite get. It makes for some cute sequences and story progressions and leads us up to the climax, where Oddman Out gets the final show-stopping number.
There’s some strong performances: anyone familiar with the Vancouver scene has seen Andrew Lynch perform, and his Sheriff lives up to the high standards his presence demands. Emily Pangburn’s Robin is graceful and cocky and her facial expressions are as perfect as the choice to cast her as the lead. Isabella Halladay’s Will Scarlet demands attention and earns it, and she’s got presence enough to make her every moment on stage count.
Of note is Katherine Alpen’s Winkin – this is her first burlesque and she carries herself with a refined dignity in almost every scene, acting as the narrator and liberally ignoring the fourth wall. She’s great. Joseph Spitale’s Mann Marian is an utter delight from start to finish, a clueless dude-in-distress caught between political machinations he has little understanding of. Finally, the dry delivery of Jennifer Doan’s Oddman Out makes her the conscience of the show and the person who grows the most, a quiet presence that shadows the rest of the story until she’s ready to take center stage in the final number.
All of the male performers took some serious risks here: Jared Arthur, Joseph Spitale, Kenneth Tynan, Matthew Fedorowicz, Andrew Lynch, and Rafael Ruiz did some amazing things with the material they were given and the routines they worked out, and fans of boylesque are going to love the things they do.
The script has some very clever one-liners about its source material, the limitations of the set, and the limitations of the stage. It criticizes itself – how do you have a Robin Hood show without bows and arrows?!? – and a strong opening sequence that sets the stage for what’s to come.
A handful of minor technical choices can be excused – with the amount of glitter being used, one wonders why we don’t just replace blood with the stuff? It would have made for a much more dramatic (in every sense of the word) performance. There’s also a beautiful silks performance that, while gorgeous, comes out of nowhere and adds nothing to the story as a whole.
Which segues nicely into one of the problems with Robin Hood: Prince of Tease – the writer promotes comedy over character and loses out on the chance for more comedy because of it. The pacing is a bit weird, and without strong enough character motivation we’re left cheering for people because of the source material rather than the characters as they stand here. Traits come out of nowhere and pay-offs come without build up, making them feel hollow.
Even worse is the queer-coded villains; Mann Marian being forced to marry the fabulous Sheriff and being in horror of it and then being rescued by the female Robin is played for laughs, sure, and there’s an attempted rescue of the concept with a gay marriage between Little John and Marian’s manservant, but it feels like a last ditch effort to cover a mistake. Marian’s efforts with Robin are stymied by sexual fluidity, which comes off as a bit of bi-erasure.
Neither issue is large enough to mar the performances or the show as a whole. We’d recommend seeing it – it’s funny and a good time and the few flaws are evidence of inexperience more than maliciousness. Toofly Productions is still maturing as a studio and will continue to do so – and if this is what they’re early efforts look like, well, we can’t wait to see where they end up.
A word of warning: if you are going to see this (and if you like musicals, burlesque, or Robin Hood, then you should), reserve a table. The Performance Works Theater has limited seating and looking for a place to sit can be difficult. We’d recommend trying to get a seat in the center aisle – there’s a shower sequence that happens towards the back at the end of the second act that you’re going to want an unobstructed view of.
You can learn more about Toofly by clicking here, more about Robin Hood: the Prince of Tease by clicking here or buy tickets by clicking here, and learn more about the Performance Works Theater by clicking here. The show runs from now until May 13, 2017, with each show starting at 8pm.
It’s a warm Vancouver night, clear and expectant, and I’m walking towards one of the most storied venues in the city. The Odyssey was opened in 1987 and continues to operate as one of the city’s most prominent gay bars and that makes it the perfect spot for Geekenders to expand into.
A line had already begun to form at seven o’clock, the curious and familiar of both venue and troupe coming to see what the official mingling of both would result in. The answer was a smashing success, with a good crowd that was hot and ready for everything the Geekenders had to offer and a Geekenders crew fully prepared to take advantage of everything that their hosts had on hand.
People got settled, got drinks, got comfortable, greeted old friends and made new ones before the show began. The Odyssey provided a host of Nintendo-themed drinks and entertainment, including several iterations of Mario Kart and Smash Bros., letting the bar fill with classic remix video game tracks that set the stage for what was to come.
And what came? Veronica Vamp and the incomparable Stephen Blakley took the stage as Jesse and James of Team Rocket fame, accompanied by stage kitty Chantini. The two set an immediate rapport, riffing off the game and the cartoon and one another as they set the tone for the acts to follow with typical Geekenders flair.
Dee Luscious set things off as Bowser, King of the Koopas, prancing out to Amy Kurcharik and Friends’ Like a Boss and showing everyone that she had come up with an ironclad plan to finally conquer the Mushroom Kingdom: kidnap Princess Peach and put her in a castle. Dee made the stage her castle and every last audience member was captivated by her performance. It was a strong showing, equal parts funny and sensual, and it set things at ease and relaxed the crowd for whatever was to come.
With Princess Peach out of the picture, Jayne Fondue stepped up as Princess Daisy and let us know why she should be the new ruler of the Mushroom Kingdom and not just Luigi’s heart. Rocking out to How to be a Heartbreaker by Marina and the Diamonds, her facial expressions let everyone know that they were watching royalty – and when she came into the audience to thrum along with her loyal subjects, we were surprised to find her take someone on stage with her. This lucky player two was fed the freshest sort of block-fare, turned from another face in the crowd into the most famous plumber this side of Mario. The two of them stepped off, triumphant, and everyone’s heart went with them.
Artemis Lark had a difficult act to follow, but she managed. Coming out as the Kaepora Gaebora- the Great Owl from the Legend of Zelda games – she took a wild breath and claimed the space around the stage, flapping her wings and moving her head like an owl to Who Are You? by the Who, an inspired choice that Artemis turned into the ultimate audio/visual pun. Her facial expressions were, once again, perfect, and she became the show’s twilight princess as attention focused from performer to crowd.
The fine folks behind the upcoming Robin Hood: Prince of Tease were given a chance to strut their stuff while hosting the Geekenders costume contest. They’re performing an entirely gender-bent take on the classic fable and will be at the Performance Works on Granville Island from April 28th to May 13th. You can find out more by clicking here.
We were treated to two separate contests, a Nintendo-themed and a non-Nintendo themed follow up. A man wearing a full on Pikachu costume claimed the former, while the birthday-celebrating Draco Muffboi and companion Ginger Femmecat shared victory Hogwarts-bound Sailors Uranus and Pluto. Their victory was greeted with a rousing chorus of Happy Birthday sung at Draco, and a Happiest Birthday to you.
With that island of calm behind us, we returned to the world of burlesque with Kitty Glitter proving that everyone loves a dinosaur. Appearing as Yoshi, she gobbled down every last morsel of attention with a fun and energetic showing that had the Odyssey in good spirits and ready for more.
The crowd was rocking and rollicking and feeling the passion of that performance, and so we were treated to an intense tournament of that most skill based of challenges: rock paper scissors. Contestants were culled from the crowd, their glory to be claimed or lost on stage for all the Odyssey to see. The battle was fierce and the prizes for victory mighty, with the final winner taking home the Master Sword.
You could take that prize home, maybe. You should come to one of these shows.
Donna Jazz flounced on stage to bring us back to the show as Kirby. She started things innocent, with some light instrumental that led to a nice rendition of Don’t Put in Your Mouth, the songs following the action as Kirby, of course, ate something… and we all know that Kirby takes on the power of those that are eaten. The music was swallowed and so was Donna, allowing her to transform into a very different kind of dreamland resident, Beyoncé’s Partition marking this as the perfect song to sum up the stunning performance as a whole.
As Kirby ended, the King returned: one can’t keep a bad Koopa down, and one does not turn away from a second showing from their King. The debuting Johnny Wildcard eschewed the stage entirely, showing as incredible athleticism as he swung along and pole-danced to Ain’t no rest for the Wicked by Cage the Elephant. Johnny hit every beat perfectly, ruling the land and the world and making the Odyssey his kingdom, and by the time his performance ended and we had managed to pick our jaws up off the floor we were certain we had seen the show-stopping number.
We were wrong.
Saffron St. James flew out from Ottawa to take part in this show, donning the yellow cap and crooked mustache of Wario. She stepped on stage and, like Wario, was greedy for our attention – but unlike Wario, she knew how to hold it once she had it. Setting herself to Crown by Angel Haze, she brought the house down, a perfect presence that proved that majesty comes from so much more than a crown.
Jesse and James saw us off and kicked off a massive dance party mingled with video games and good times, as the crowd that was there stayed and new faces showed up. A good time was had by all, and Stephen Blakley gave us some magic as he took the stage to reprise the Han Solo routine from the Star Wars burlesque. What else was he going to do? Maroon 5’s Moves Like Jagger was playing. The Geekenders crowd knew what was up, and the new faces from the Odyssey clued in quickly.
Geekenders continues to break new ground and expand their venues and fanbase. This was an awesome show with a great turnout for a Sunday night, and there’s sure to be more to follow both at the Odyssey and elsewhere. We know for certain that the Geekenders are returning to the Rio this May the Fourth (and the Fifth~!) with Star Wars: The Empire Strips Back. For our new friends that saw tonight and want more, click here and grab some tickets.
You won’t be disappointed.
All photos provided for by Zemekiss Photography, who you can learn more about by clicking here. You should do so; Zemekiss Exanto is awesome people and will capture your event with class and skill.
If you haven’t been attending the Geekenders 2016/2017 Season you are missing out on events that are innovative and life-changing. I was floored when I saw their stage production of The Rocky Horror Show, I could not get over how amazing Batlesque was, and I wouldn’t have thought that something could beat them but We All Float Down Here proved my happily wrong.
Our horrifying hosts for the evening were Gidget Gravedigger and Alistair Crane and they were adorable, creepy and chocked full of Sleepwalkers trivia. Their story of the evening was the unfortunate but understandable murder of Alistair by Gidget and, in a typical King plot twist, having the body buried in the Pet Cemetary, only to have him come back to life and then turn into the Night Flier, was so silly and creepy. A+.
They were helped by their stage kitties in the first half of the show, Anita Johnson and Flash LeFox. The two crept and delighted the audience as The Grady Twins from The Shining. I would also like to make special note that I really appreciated that there was recognition that Stephen King writes about disturbing things and therefore an appropriate warning was said before people got in too deep. It shows that Geekenders cares about their audiences and stays true to their mandate of being a progressive troupe of performers.
The first performance revved the engines of the audience as Trixie Hobbitses as Christine danced and murdered her way around Kitty Glitter and Seamus Fit-It-In to the perfect song, The Beatles Baby You Can Drive My Car. She delighted. She KILLED. Her use of the classic balloon pop routine was a great treat and her use of headlights was top notch.
Next up was Androsia Wilde and Rear Admiral Ziggy Starbutt in a sexy homoerotic tango inspired by King’s epic The Dark Tower series. The routine turned into a violent pas de deux of fisticuffs and undressing while Short Change Hero by The Heavy.
Our first boylesque number of the night was Tylr Bourbon performing The Mist which was visceral and mesmerized the audience with the lush and disturbing images.
Fanny Oakley then gave us a sanguine belly dance sensation in her interpretation of Salem’s Lot complete with drinking blood on stage and bearing all as Take Me To Church by Hozier played.
Our first international act of the night came from a good friend of the Geekenders community who had performed in the Weird Al Burlesque: Violet DeVille, fresh from a performance date in Texas, possessed perfect comic timing in a The Lonesome Death of Jordy Verrill number. She made SPACE GOO even more awesome than it already was. A nice touch was using Catch A Falling Star by Perry Como and the Thunderstruck cover by Steve n’ Seagulls.
Secret Window, Secret Garden is one of my favorite King works and Ginger Femmecat and Draco-Muff-Boi’s take on it was perfection. The Nine Inch Nails song The Line Begins to Blur was the right choice for this performance and story. The visuals of Draco and Ginger transforming into each other was executed with precision and disturbing beauty.
The best part of The Shining is seeing a family descend into madness and the horror of knowing that the place that the world you live in is out to get you. Riannaconda showed us a trifecta of narratives transitioning from Wendy Torrance to Jack Torrance to the Overlook itself (complete with the iconic carpet). Also, two words… Glitter Axe.
Full disclosure: I am a Miss Dee Twenty fangirl. My opinion of her work is possibly slightly biased, but I checked with everyone else I could talk to and we were all in agreement, she is a rockstar. Her Needful Things act was a classic Miss Dee performance. Great music selection, Satan Takes A Holiday by Tommy Dorsey Orchestra and Artie Shaw’s Nightmare along with her trademark narrative opener tells us a story of how when you make a deal with the devil you will be exposed. The Half and Half is a classic burlesque routine and Dee does it in full.
I enjoy a good period blood joke. Most beings with uteruses know the body horror of menstruation and Carrie was a formative and terrifying story of how women are shamed for their natural body functions. Fanny Oakley’s second number of the night explored that by using a montage of images from the movie and her own dancing which beautifully crescendoed into the crowning blood red glitter bath glory.
“She can’t be dead, MISERY CHASTAIN CANNOT BE DEAD!” is how I felt at the end Seamus-Fit-It-In and Kitty Glitter’s Misery number. The glitter axe made its second appearance as the couple showed how deep their love goes for wheelchairs, torture and Kathy Bates
I love it when performers take concepts from classic burlesque and turn it on their heads. Violet DeVille’s second number of the night was a reverse tease. Drawing inspiration from Silver Bullet, a story of a small town terrorized by a werewolf, Violet came out in her wolf form and danced in a barely-there nude costume with wolf mask and tail, then slowly added human elements of dress to a cover version of Bad Moon Rising by Mourning Ritual Feat: Peter Dreimanis of July Talk. It was a well-crafted comment on how we hide the dark animal inside our selves by covering it up with what we see as civilized.
The antepenultimate act was a huge and wild ensemble piece. One of the best things about Geekenders’ shows is that you will never be disappointed in a floor show style group “everyone take off your clothes” piece, and this is no exception. Veronica Vamp led Fanny Oakley, Faye Havok, and Tylr Bourbon in the ritualistic torture of Trixie Hobbitses and Seamus Fit-It-In with Rear Admiral Siggy Starbutts reprising her roll of Death in an epic retelling of Children of the Corn. Set to Go Kindergarten by Lonely Island featuring Robin, it was spicy like the Gingers that menaced us on stage.
With the reboot of IT coming to theaters and the recent upswing of creepy clowns standing on the edges of towns with balloons, having a clown with a balloon stand in the lobby of The Rio who encourages you to take photos of them with your friends is inspired. Brandy Snifter is, in fact, one of the most inspired performers I saw that night. If you ever had a raging crush on Loonette from Big Comfy Couch, then Brandy Snifter performing to Killer Klowns by The Dickies and the Goldfinger cover of 99 Red Balloons is your dark grown-up fantasy. We were so blessed to have Brandy visit from LA, because she is an international burlesque gem.
In my family, we have a “no shower curtain when taking a bath” rule. The Shining and specifically room 237 is the horror movie incident that inspired this rule. Anita Johnson, who is a gosh darned genius, used my fear of shower curtains and bathtubs against me in her Room 237 number where she stripped off her rotting flesh to Splish Splash by Bobby Darin. Jeebus the whole thing gave me a queasy but happy feeling in my stomach.
We all Float Down Here was a freaky, creepy, scary, unnerving delight. Successfully selling out the Rio and showing the city that Horrorlesque is a viable and popular genre of burlesque. If Geekenders gets any more amazing it is going to be hard to get tickets and that means that they are going to have to get support from their fans to find larger venues to accommodate the needs of the community that adores them.
We All Float Down Here Setlist
Christine – Drive My Car by The Beatles
The Dark Tower Series – Short Change Hero by The Heavy
The Mist – Haydar by Gulcan Kaya
Salem’s Lot – Take Me To Church by Hozier
The Lonesome Death of Jordy Verrill – Catch A Falling Star by Perry Como
The Lonesome Death of Jordy Verrill – Thunderstruck by Steve n’ Seagulls
Secret Window – The Line Begins To Blur by Nine Inch Nails
The Shining – How Deep Can I Go by Hairy Soul Man
Needful Things – Satan Takes A Holiday by Tommy Dorsey Orchestra
Needful Things – Nightmare by Artie Shaw
Carrie – Red Dress by MAGIC!
Misery – Love On The Rocks With No Ice by The Darkness
Silver Bullet – Bad Moon Rising by Mourning Ritual Feat: Peter Dreimanis
Children of the Corn – Go Kindergarten by The Lonely Island Feat: Robyn
IT – Killer Klowns by The Dickies
IT – 99 Red Balloons by Goldfinger
Room 237/ The Shining – Diana by Paul Anka
Room 237/ The Shining – Splish Splash by Bobby Darin
Room 237/ The Shining – Rebel Rouser by Duane Eddie
Room 237/ The Shining – Charlie Big Potato by Skunk Anansie
Geekenders, Vancouver’s ‘cult sensation’ (Vancity Buzz) burlesque
troupe celebrating fandom, pop culture and alternative beauty, has announced a new
burlesque spectacular celebrating the work of Stephen King.
In the past four years Geekenders shows have drawn over 40,000 audience members
to shows ranging from a musical comedy take on the Portal video games to a cabaret-
style show exploring the world of Doctor Who, as well as consistently appearing in ‘Best
Burlesque Troupe’ lists all over the city, and shut down pop culture conventions with
packed houses, and changed the face of Vancouver’s theatrical community, making
theatre and burlesque accessible to an entirely new demographic of people.
In that tradition, Geekenders’ brand new burlesque variety show, ‘We All Float Down
Here: A Burlesque Tribute to Stephen King’ at the Rio Theatre on March 25th. ‘We All
Float Down Here’ is a burlesque, dance, and comedy show celebrating the oeuvre of
Stephen King through a vaudeville lens, creating a world where the horror writer’s films
collide in a Ziegfeld Follies-style explosion of glitter and showgirls.
Featuring FIFTEEN of Vancouver’s biggest nerdlesque names!
REAR ADMIRAL ZIGGY STARBUTTS!
MISS DEE TWENTY!
“We pick the things we do to coax people out to see live theatre or burlesque, people
who might not have been previously interested,” says Geekenders artistic director
Fairlith Harvey. “There’s so much to see, from body-positivity and exclusively feminist
content, to gender blind casting, LGBT-friendly shows, goofy humour, and intricate
Geekenders’ production of the Vegas-style nerdlesque revue ‘We All Float Down Here:
A Burlesque Tribute to Stephen King’ runs Saturday, March 25th. Tickets are available in
advance at riotheatretickets.ca. For more information about Geekenders, visit