the E A S T S I D E
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Arts and entertainment
THE
ART & BUSINESS
OF
BURLESQUE
October 2014
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What is it we love so much about dual lives? Last year, 10.3 million American television viewers tuned into AMC to watch a milquetoast family man and chemistry teacher complete his descent into the life — and death — befitting a drug kingpin. It was a number that had only grown over the course of Breaking Bad -- just two years before, the fourth season finale’s 1.9 million viewers had been considered a ratings milestone. People had responded to -- nay, embraced -- this story of a normal man, Walter White, who had reinvented himself as the criminal Heisenberg. It was a success that series creator Vince Gilligan said repeatedly in interviews was, at times, disturbing. He had set out to create a character who would gradually become reprehensible to his viewers -- instead, they cheered on his atrocities and booed his wife any time she tried to restore sanity to a dissolving family. Chalk it up to the American fascination with reinvention. It’s hewed dark of late, but it’s hardly new. Almost 50 years ago, TV viewers could watch a harrowed advertising executive hide the fact his wife was a witch, then flip the channel and watch an Air Force major do pretty much the same thing with a 2,000-yearold genie. Heck, even Fred Flintstone hid The Great Gazoo from Wilma. And, of course, America is the home of the superhero -- the first of whom, Superman, began as a power fantasy for real life Clark Kents Jerry Siegel and Joe Schuster. Duality is the most intimate expression of the self-made mythos: the ability to pull our identity up by its bootstraps. We don’t just fantasize about it, we do it every day. Duality is the personality we
scene
Editor Daniel Nash Design Tek Chai
present to our friends at work, versus the one for our friends at the bar. It’s the train set we tinker with in the basement and it’s the guitar we strum every night in our apartment. It can be as simple as our weekly round of golf or our Saturday night reading group. For Queenie O’Hart, one of the subjects of this month’s cover story, it’s the ability to transform herself from a health care worker by day in Issaquah to a vivacious burlesque dancer by night in Seattle. I’m honored to present the October issue of The Eastside Scene. In addition to our cover story (page 6), we have another installment of our new Don’tMiss List (next page), an interview with comedian Jared Logan (page 9), two delicious food and drink recipes from John Howie Restaurants (pages 5 and 8) and we’ll wrap it up with a guide to gory makeup for that most duolicious of holidays, Halloween.
Contributing Writers Yekta Aarabi Bryan Trude For Advertising, call Jim Gatens 425-440-0437
On the cover:
Photography: Josh Stilts Model: Queenie O’Hart
The scene is a publication of Sound Publishing, Inc. 2700 Richards Rd. Suite 201, Bellevue WA, 98005 425.453.4270 | BellevueReporter.com
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Daniel Nash Editor
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The Don’t-Miss List
er
ob Oct
WATCH | Kinky Boots
Based on the 2005 film of the same name, the Broadway adaptation of Kinky Boots earned 13 Tony nominations and six wins in 2013, including Best Score for Cyndi Lauper. Now the story of a straitlaced shoe factory owner who partners with a drag queen to revitalize his business is coming to rock Seattle. Where: 5th Avenue Theatre, 1308 5th Ave., Seattle, WA 98101 When: Oct. 7-26
LISTEN | Blood Moon: Year of the Wolf
Credit: Rudolpho Reis, Flickr.com; shared under Creative Commons license
DO | The Issaquah Zombie Walk
Someone should really airdrop copies of Max Brooks’ Zombie Survival Guide into Issaquah — the poor city has been overrun by the undead for years. The Issaquah Zombie Walk, first organized by Tom Gotuzzo in 2009, will infect downtown Front Street just two short weeks before Halloween. But the intended effect is less George Romero than John Landis: The walk will culminate in a flash mob recreation of the music video to Michael Jackson’s Thriller outside City Hall. The organizers will have free basic makeup, or you can plunk down $10 for the hard stuff: in this case, “ultra zombie” makeup from Illusions by Melanie. Where: The historic Shell Station, 232 Front Street, Issaquah, WA 98027. The event will move to City Hall on Sunset for the dance. When: Prep from 2:30-4:30 p.m., Flash mob 4:30-5 p.m. PLAY | Alien: Isolation
Credit: 20th Century Fox
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The past five years haven’t been kind to the Aliens franchise. First, Rebellion’s 2010 Aliens Vs. Predator remake failed to live up to the shining multiplayer system delivered by its predecessors. Then Gearbox’s Colonial Marines arrived with ugly graphics, nonexistent AI and animations that turned fearsome xenomorphs into Miley Cyrus’ backup dancers. But the audacity of Alien: Isolation is promising. The game eschews straightforward action in favor of the tense survival horror atmosphere of the original Ridley Scott film. Instead of mowing down waves of enemies, players must evade a single unkillable alien that can hunt, learn — and be deceived. Platform: Windows, PS3, PS4, Xbox 360, Xbox One Release Date: Oct. 7
The Game is out for blood on his latest solo album. The rapper and G-Unit turncoat told Power 106 in July: “I just feel like this year I got a lot to get off my chest. And with this album, man, I’m going in on a lot of people. A lot of issues. A lot of stuff. I got very angry artists that I’m signing … Basically, what I’mma do is I’m exposing everything. Everything, everybody get it. It’s like one of them tell-all books … in music form.” The repeated Billboard chart topper has gone all out on this project, formerly titled Blood Money La Familia. Recording wrapped in early August and The Game crowdsourced the album artwork from fan entries over the course of the month. He revealed the winning cover, by Ruben Ramos, on his Instagram page Sept. 4. It depicted The Game’s daughter, Cali, with the eponymous pack hunter. “In the end it was the concept,” The Game wrote. “The world sees me as a big bad wolf but to my daughter … I’m just dad.” Release date: Oct. 14
LAUGH | Jon Lovitz
Celebrated SNL alum, underrated Critic voice actor and Hollywood comedy club mogul Jon Lovitz comes to Parlor Live’s Seattle club. Lovitz gained notice on SNL from ‘85 to ‘90 for his comically inappropriate gravitas and general sadsackery. After leaving SNL in 1990, Lovitz graduated into regular work as a comic actor in his own right (though the less said about High School High the better). Lovitz first cracked into standup at the Laugh Factory in 2003. Four years later, he opened the Jon Lovitz Comedy Club (now the Jon Lovitz Comedy Club and Podcast Theatre). Where: Parlor Live, 1522 6th Ave., Seattle, WA 98101 When: Oct. 2-4
Credit: jonlovitzcomedyclub.com
DRINK | LifeSpring’s Wine At It’s Best
This year’s LifeSpring wine blowout, Le Vin A Son Apogee will feature selections from 80 different countries, each rated at 90 or more “Parker Points.” Additionally, lead sommelier Rina Bussell will present her selections of the best wines in the Pacific Northwest. The event is pricey at $200 for tasting entry and $250 for VIP status — which doesn’t even touch the cost of wines bought at auction — but money raised will support Breaktime-Mealtime, a LifeSpring program that provides 1,500 children with meals during breaks from school. Where: Hyatt Regency Bellevue, 900 Bellevue Way N.E., Bellevue, WA 98004 Credit: Wine Folly When: Oct. 11
The Panacea Ingredients: • 1 ounce Wildwood Spirits Co. Kur Gin • .7 ounce (about 4 teaspoons) Campari • .7 ounce (about 4 teaspoons) Carpano Antica Sweet Vermouth • .375 ounce (about 2 ¼ teaspoons) Yellow Chartreuse • .375 ounce (about 2 ¼ teaspoons) Luxardo Maraschino Liqueur • .375 ounce (about 2 ¼ teaspoons) lime juice • 1 orange peel as garnish Add all the ingredients to a shaker and fill with ice. Shake and fine strain into a coupe glass. Twist a slice of orange peel over the drink to express its oils then discard. Serve in a cocktail glass and enjoy.
Bottoms Up!
A cure for what ails you by Yekta Aarabi
F
Feeling in the dumps? Who could blame you? After a summer of sun and fun the onset of fall is an anticlimactically slow slide into the nine-month drizzle that darkens life in the Pacific Northwest. Fortunately, Erik Liedholm, the wine director for John Howie Steak, has his own solution to chase away the blues. Appropriately named The Panacea, this cocktail uses a base of gin from Howie and Liedholm’s Wildwood Spirits Company, combining it with Campari, vermouth and other liquers to create a flavor that is subtly sweet, without overpowering the natural flavor of the gin. Wildwood Spirits Company blends the ‘farm to table’ and ‘vineyard to bottle’ concept using fruit and grains from local farms. Ninety percent of those produced are used for distilling their spirits. The winter wheat, Braeburn apples, and Douglas fir, is all grown here in Washington State. Liedholm’s Kur Gin, (kur is, incidentally, the Swedish word for “cure”) is not only produced in Washington but is also filled with an array of sweet green herbs and elaborate spices. With the London Dry style double bubble shot glass, also known as a quaffer, fills the mouth with the flavors of juniper aromas, subtle citrus, Douglass Fir and Braeburn apples from Liedholm’s back yard. the eastside scene 5
THE
ART & BUSINESS
OF
BURLESQUE Commonly mistaken for little more than strip tease, burlesque has deep roots in vaudevillian parody. Performers Queenie O’Hart (left) and Tootsie Spangles dish on the true trials and tropes of the art form. Story by Celina Kareiva Photos by Josh Stilts and Daniel Nash
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F
For as long as Queenie O’Hart can remember, she’s been taking off her clothes. “Just ask my mom,” she says wryly. “I have always been an eexhibitionist xhibitionist ... I have no problem being naked in front of 2200 00 people.” O’Hart has been performing burlesque for the past two years in stage acts she calls “musical theater with tits.” “You have your foundations, your blushes, your eyeshadows and your fake lashes,” she says, rifling through a makeup box flecked with glitter. “It’s insane what you have to do [to get ready].” O’Hart got her start in burlesque in August of 2012. She had done plays in high school and, after graduating, worked for a Boston theater company called Big Colony Productions. But O’Hart took a break from the stage when she finished massage school. She found her heavier, Rubenesque figure kept her from getting cast in certain roles. It was sheer curiosity that led her to enroll in Miss Indigo Blue’s Academy of Burlesque, in Seattle’s Central District. Burlesque allowed her to play characters theater never offered. And as she learned the various elements of the genre — tassel twirling, walking in heels and overcoming stage fright — she became hooked. “There is a serious high [from performing on stage],” O’Hart says. “There’s nothing as exciting as getting up there and getting to do something you really love. It’s like everything else goes away. You go completely blank.”
type or age limit,” says O’Hart. “I’ve seen shows with performers who are 84 and in wheelchairs or walkers.” Two years ago, when Spangles was first introduced to burlesque, she had just moved to Seattle. Dance classes offered her a window of opportunity to meet new people. Spangles had already been performing for about a decade in children’s musicals and circus acts. Burlesque may seem worlds apart from her earlier productions, but Spangles found that many of her lessons in clowning could be applied to this new performance genre. The big, exaggerated movements served her well on stage. “It totally changed the trajectory of my performing career,” she says. Like many dancers, Spangles performs in the evenings but works full-time as well: “Just like actors or musicians, many burlesque artists hold day jobs. We work as lawyers ... nannies, accountants, stay-at-home parents, doctors and hair stylists.” Spangles is a teacher by day and likes to think of her stage persona as an exaggerated version of herself. Most people overlook the fact that burlesque acts are full productions, she says. Makeup alone can take more than an hour and a half to apply. Lights, costumes, props and music all have a role to play. And, like many art forms, its practitioners draw inspiration from other arenas — as the saying goes, “Good artists copy, great artists steal.” O’Hart regularly takes ballet classes, which teach her discipline, precision and poise. A single show can run the gamut of performing arts, from dance to narrative theater. O’Hart crafts her performances around an everevolving storyline. “When I started, I came up with this backstory full of reincarnations and all this crazy stuff. Each - Tootsie Spangles time I perform, I narrow it down a little,” she says. “I like to think of myself as [a performer of] musical theater … I’m jumping, I’m happy and I’m really emotive.” Sometimes everything will crystallize around a catchy song that has been stuck in O’Hart’s head. She’ll then build a storyline around that tune. Her first performance was as an adaptation of the character of Ophelia, the tragically insane noblewoman from Shakespeare’s Hamlet. “The sweetest, most soft-spoken people can be really loud and crazy on stage,” says Spangles. “The persona depends on the individual.” O’Hart and Spangles still get stage jitters. But that’s part of the appeal of performing, they say. “I forget all my lyrics. I forget all my moves. I forget what I’m wearing,” O’Hart says, laughing. “[It happens] every single time and I’ve been performing since I was seven.” She and Spangles are currently touring across the region on their maiden voyage of the Fine Frenzy Tour and O’Hart is also experimenting with production. She recently launched a monthly revue at the Bal-Mar in Bellevue. As for the future, both performers would like to see burlesque assume mainstream popularity. “Like any artistic venture, there’s no end goal,” says O’Hart, “I just hope in five years I’m still doing the same stuff and touring as much as I can.” For more about Queenie O’Hart and her upcoming productions, visit her website at: http://www.queenieohart. com. To learn more about Tootsie Spangles and her performances, visit: http://www.tootsiespangles.com.
“The sweetest, most soft-spoken people can be really loud and crazy on stage. The persona depends on the individual.”
Burlesque is commonly mistaken for little more than another form of strip tease. But the art form has deep roots in vaudeville, a satirical genre of theater that often poked fun at high society. Early burlesque leveled its sights on upper class culture, parodying hoitytoity literature, fine art and theater with performances that were silly, bawdy and often set to music. Performer Lydia Thompson and her troupe of British Blondes, popularized the performance art in the U.S. in the late 1800s. By the early 20th century burlesque acts began to adhere to a certain structure and convention built up over the years — a showcase emceed by a master of ceremonies and adopting elements of the striptease. “Some people will say it’s just ‘low art,’” says Tootsie Spangles (her stage name), who has been performing burlesque for the last two years in and around Seattle. “‘Low art’ or not, burlesque can be sexy, weird, political, emotional [and] sad ... In the end, we’re all adults playing pretend in some capacity.” The performers Tempest Storm and Blaze Starr in the 1950s, introduced the headdresses and big costume glamour that burlesque is best known for today. It has since splintered off into genres as diverse as clowning and “nerdlesque,” full of pop culture references. And it’s making its way onto stages across Seattle and the Eastside. Seattle’s Re-Bar, the Can Can and Theater Off — to name a few — regularly host shows. But O’Hart, who lives in Bothell, says most venues are still concentrated in Seattle because strict regulations — designed to curb strip clubs or bikini barista stands — make it difficult to secure performance venues outside the city. What little exists of Eastside nightlife is centered around DJs and dance clubs, she explains. Seattle’s community of burlesque, on the other hand, is incredibly diverse. “The greatest thing about burlesque is that there’s no body
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Eating well
Northwest flavor, made at home
A by Yekta Aarabi
Autumn is the perfect time to add a new recipe to your collection. For the party organizers among us, soon enough the holidays will bring visitors into our homes. This year, why not show off your culinary prowess? You can treat your out-of-town guests to a Northwest meal from Bellevue’s John Howie Restaurants, fixed in your very own kitchen. Chef John Howie has a mouthwatering recipe for Zucchini Linguini, a variation on the pasta dish that takes advantage of the harvest season. Zucchini has a mild flavor and a smooth texture. Harvested in June through October it is one of those wonderful fall vegetables that makes a great dish for the family. Howie’s recipe replaces traditional pasta with the squash itself, sliced into long and thin noodles.
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Zucchini Linguine Servings: 2 (Multiply ingredients as needed for your party) • 1 pound (about 2 cups) zucchini, sliced 1/4” x 1/4” x 5-6” long • 2 tablespoons first press‚Ä®extra virgin olive oil • 1 tablespoon & 1/2 teaspoons fresh and finely minced shallots • 1 tablespoon shaved slices of garlic • 1/4 teaspoon crushed red chili flakes • 1 cup Roma tomato, diced in half • 1 tablespoon & 1-1/2 teaspoons vegetable stock • 1/2 cup artichoke hearts, sliced into 1/4” wedges • 1/4 cup Kalamata olives, pitted and quartered • 1-1/2 teaspoons pink sea salt • 1/2 teaspoon black ground pepper • 3 tablespoons fresh basil, julienned 1/16” • 2 tablespoons toasted pine nuts Heat the olive oil over medium heat, then add the shallots, shaved garlic and crushed chilies. Sauté for two to three minutes with light browning. Add the Roma tomatoes, salt, and vegetable stock, cook them until the tomatoes are tender and the sauce thickens a bit. Add the artichokes and olives, warming them through. Add the zucchini and cook them until warmed through but do not overcook. Remove from heat and toss in the basil. Mound high evenly in pasta bowls and sprinkle with pine nuts, the serve.
Conversations with Funny People
Southern Charm West Virginia native Jared Logan grew up as the artsy odd duck in a “good ol’ boy” town. Today, Logan’s happy-go-lucky comedy style has gotten play on Comedy Central and he’s preparing to release his debut by Daniel Nash album, My Brave Battle.
I understand you just recorded an album in Nashville. Your first?
Jared Logan: In May. And, yeah, it is. It’s coming up soon: Oct.
14 it will be out. I think preorders are already available on iTunes. It will be called My Brave Battle. I just thought it was a funny, sarcastic name that illustrates my extremely complicated artistic process. I got the idea from Larry King, who named his memoir My Remarkable Journey, which I thought was hilariously melodramatic for a nightly talk show host.
You grew up in the South yourself, in a West Virginian coal mining family. Yet you were interested in the arts. What was it like growing up?
JL: There are many wonderful things about West Virginia:
It’s beautiful, people are nice. But like a lot of comedians, like a lot of people, because I have those interests I was occasionally bullied. It’s not that different in other places. I lived in Tennessee as well for a little bit, which was another rural good ol’ boy area. But I think that’s just misunderstanding for the most part. A lot of times kids don’t understand what that means, to want to read a book that wasn’t assigned to you for class. They don’t have a vocabulary for it. So, “that’s gay” becomes the vocabulary. “Hey, he’s reading a book... I guess he’s gay?” That’s the only term they can come up with.
That must have been difficult at times.
JL: I got picked on, but I made really good friends. But now that I’m older, I’m glad I grew up in that culture. I got some growth. I got a lot of material. And, you know what? There are a lot of good things that come out of that redneck culture, out of the country culture in general. It’s friendly. People know each other and they genuinely care how they’re doing. In New York and L.A., people are all ambition, they’re sophisticated, but they don’t necessarily have compassion You joke a lot about how used your full scholarship to obtain a Theater degree. Did you see yourself becoming an actor?
JL: I didn’t know exactly what I was going to do. I knew I wanted to perform. Acting was something that came with growing up as a drama geek, so it made sense going into college, but I didn’t know that I wanted to be an actor. I had a sketch group in college and that was my first taste at comedy. We loved it, but our professors would tell us “You guys should stop focusing on that and start focusing on plays we cast for you in the theatre department.” But the sketch group, that’s what we really wanted to do.
Is that why you moved to Chicago after school? JL: Chicago was where I was like, I’m really going to try to do standup as a job. I had so many horrible theater jobs to support myself during that time. I did a job taking tickets at a theater that played a show Naked Boys Singing. Which is exactly what it sounds like. I didn’t have a problem with that — I actually enjoyed seeing other men’s penises so I could feel more secure about my own. (laughs) But the thing was, part of my job was to deal with rowdy people in the audience. And, like every weeend, these bachelorette parties would come to this show — that was really more about the gay experience than anything else — and they would scream like it was a Chippendale’s club and reach up and try to grab the performers. So I had to boot women from this show every single week. Wow. That must have prepared you for hecklers, at least. JL: Yeah, you know, it did in some ways. I guess that experience meant I was never really shocked later when I saw how some people behaved at live shows. Which isn’t always their fault, per se. A lot of people go to one live show their entire life, it will be their third time getting drunk for the entire year. And then they ruin the show by shouting at the performer. But they don’t go to shows, so they don’t know how you’re supposed to act. Being in Chicago at the same time as comics like Pete Holmes and Hannibal Burress, how important are the friendships you make with other comedians? JL: That’s absolutely crucial. That’s because your whole career is really your buddies in comedy, your friends in comedy, because they help you out. Without them and their support, I wouldn’t be working in comedy for a living. And the way this business works, you’re always keeping in mind how your buddies help you. Pete Holmes is a friend and he brought me on to perform on his talk show. The old cliche is it’s who you know, not what you know — but in comedy that’s 1,000 times as true. Jared Logan performs with Kara Klenk at The Comedy Underground in Seattle Oct. 9-11.
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How to...
Give yourself a shiner you can be proud of
L
by Bryan Trude
Looking to get that scratch, bruise or gushing wound just right for your next Halloween costume? One of the toughest things to get right in theatre is special effects. Whether for the stage or for your next Halloween costume, a little makeup and a llittle ittle time may be all that’s needed to take your apppearance earance and persona to the next level.
Black Eye
Begin by using a black eye pencil to smear around the entire eye socket, giving special attention to the area between the eye and the bridge of the nose. Highlight the area below the eye and the line that forms a crescent shape in the skin, as these areas get puffy when hit. Over the eye pencil, apply a coat of matte, dark purple eyeshadow. Highlight the edge of the nose where a fist would hit, as well as the area below the eye where the last knuckle would connect. Using a stipple sponge and a little bit of dark red eyeshadow or lipstick, apply a small amount of color to mimic a scrape. Focus on the corner of the eye, near the tear duct, and the top of the cheekbone near the eye’s outer edge. Apply dark blue or dark maroon eyeshadow to the inner corner of the eye, as well as along the eyelid. Finally, blend in yellow or light green along the outer corner of the eye, the orbital bone and the lower edge of the bruise, to simulate fading.
Scratches
As with the black eye, scratches can be easily simulated using a stipple sponge and maroon or dark-red makeup. Accent the scratch mark with a black makeup pencil, using broken lines for a more realistic effect. Finally, using the fake blood recipe above, apply a few thin, broken lines. If a brush is not available, the same effect can be achieved spreading the fake blood with a popsicle stick.
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Bloody Mouth
For this effect, you will need to make fake blood. A simple recipe is as follows. • 1/2 cup warm water • 1 1/2 cups corn syrup • 1/4 cup corn starch or flour • 6 tablespoons of red food coloring • 1 1/2 tablespoons powdered cocoa (optional) Mix together the corn starch and water. After eliminating clumps and getting a smooth consistency, add the corn syrup and mix. Once smoothly blended, gradually add the food coloring until the desired color is reached. If you want, add the powdered cocoa to give the mix a realistic bloody brown tinge. Apply this mixture to your mouth as desired, keeping some in a disposable vial with a small applicator brush.
Rotting Skin
For this effect, you will need: • Gelatin • Baking Powder, Corn Starch or Flour • Water • A large mixing bowl • Food Coloring (red, green and yellow) • Makeup (whichever colors you feel you need for your costume) • Fake blood (see left) Mix the gelatin with a small amount of water, slowly adding more until a desirably thick consistency is reached. Apply the mixture to the skin wherever you want to simulate rot, blending the edges with the skin for a more realistic effect. Apply makeup to color the wound and help blend the gel with the skin. Finally, apply the fake blood, using less on areas where you want to simulate exposed muscle and bone. Allow to dry completely before touching. This take awhile, but drying time can be cut in half using a hair dryer on low heat.
Beth Billington
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the eastside scene 11
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