Preaching to the converted seems to be the motto at Nineteen Ten’s latest offering. Sitting in a crowded venue watching burlesque performers tackle hellish themes reveals you’re already among the open-minded faithful. The converted nod knowingly as each taboo falls, leaving the single newcomer to wonder just what they’ve walked into.
This collection of Australia’s top burlesque talent uses the Bohemian Blasphemy theme as connective tissue between otherwise separate acts. The structure mirrors a typical drag show, with performers taking turns presenting thematically linked acts.
Despite this familiar format, the various elements – burlesque, fire-eating, fan dancing, and comedy – blend smoothly. Each performer brings technical excellence to their craft, executing moves with precision and flair.
Religious imagery serves as the show’s backbone. These sacred symbols challenge audience members to confront lingering childhood shame or religious baggage.
The performers skilfully incorporate these themes into their routines without ever feeling forced. Cassocks become dance props. Communion transforms into seduction. The seven deadly sins get their moment in the spotlight – and you’ll almost certainly be getting in a little bit of lust.
Sara Martini shows remarkable skill with her oversized martini glass baptism. Her gravity-defying gymnastics earned gasps from the crowd.
The stage itself presents challenges, positioned at one end of a pool near the entrance to the toilets. Performers navigate this awkward space admirably, turning spatial limitations into opportunities for audience interaction.
Throughout the show, the audience responded enthusiastically. Collective oohs, ahhs and occasional wows punctuated each performance.
Religious iconography primarily served aesthetic purposes. Sacred symbols inspired costumes that, predictably, didn’t stay on long. The lighting design enhanced each routine, casting dramatic shadows across bare skin.
The technical quality remains undeniable. Jazida and Sara Martini, both award-winners, delivered precisely what you’d expect from elite burlesque artists. Yet something was missing.
The show lacked the raw bestial nature of Primal and the intellectual heft of Madame Martha’s After Dark: The Parisian Cabaret. The standard gender-contortionism appeared, but offered nothing we haven’t seen before. Fire eating dazzled eyes but failed to ignite deeper emotions.
This gospel of “sacred meets sultry” needs to be preached to those who need conversion to self-acceptance. The truly closed-minded would likely inflict wrath on performers and punters alike rather than appreciate this competent but unremarkable show. For the rest of us, it’s quality burlesque without revelation – technically impressive but spiritually vacant.
Decadence and Debauchery: Bohemian Blasphemy
Nineteen Ten, Rooftop/143 Hindley Street, Adelaide
Performance: 23 March 2025 – 6.00 pm (season ended)
Information: www.adelaidefringe.com.au
Image: Decadence and Debauchery: Bohemian Blasphemy (supplied)
Review: Daniel G. Taylor