I made it to Kabarett der Namenlosen!
The pre-show experience began with Lars and lovely Mlle. Vicky Butterfly dancing before the Ballhaus Berlin stage, shrouded in fog.
I warmed up with this profile of Lars Schwuchow, then the loose marker drawing above.
Lars is a serious Art Deco guy, and he has an Arrow shirt ad elegance I always want to capture, but I didn’t quite get it this time.
The costumes and sets, by Le Pustra, are simply unbelievable, and everyone has such a unique look. I knew I would be spoilt for choice!!
As a corset-lover (some might say hardcore corset fetishist!) I am always thrilled when I see someone seriously corseted. Charly Voodoo‘s whole look was incredible, with a lace head mask, high heels and stockings. He is absolutely beautiful (as is his husband Pierre-Louis, a dancer and plant-lover who revealed so much more! Sadly, I did not have a chance to draw Pierre-Louis!)
Charly’s corset is by Maxim Blotin, a young corsetmaker in Paris. It looked like satin coutil to me but apparently is made of something called leather satin! It is either corded or quilted, with gores, and a near-pipestem cut. I did not draw the details accurately, which pains me, but I think I got the shaping right. His mask, by Kevin Jacotot, was a thrilling challenge. I was so excited I really couldn’t even see straight.
Next to Charly above, singer and violinist Shir-Ran Yinon, woman of exquisite profile and fabulous pipes.
Amazingly!! He is FAB. And then, I got a special ringside seat for a spectacular vignette involving Julietta la Doll, one telephone, two glasses of water and no pants!! But I can’t share anything about that on this family-friendly blog, so here’s another drawing of Bridge Markland!
You can find out what wild theater and performance Bridge is up to right here, if you’re not too afraid of her wild soul!
Her staging of an 1890s “German screwball comedy” with puppets is coming up Nov. 29- Dec. 1, at another beautiful Berlin venue, the Theater im Delphi.
That is producer and torch song singer Le Pustra above, limned in glitter.
Wigs for the show are done by hair artist Nina Butkovich-Budden. They are devastating, characters in their own right. The suberb stage managing is by Lady White Rabbit, who I hadn’t seen in ages – she took very good care of me! I can’t imagine this immersive, improvisational show anywhere but at the historic and louche Ballhaus Berlin. This theater is a treasure, and I hope it will be preserved as a venue for some time.
Speaking of which, I gotta get to Clärchens Ballhaus before they shut it down. Should I draw tango or swing?
As always, I’m incredibly grateful to my Patrons on Patreon. I couldn’t show up and tell these folx’ stories without the monthly financial support of my Patrons, especially as my health has declined this year. The subway was inexplicably just not working when I left Ballhaus tonight, and the fact that I could hail a taxi to go home means so much. I might otherwise have spent hours figuring out a sequence of trams, buses and trains to get home – I have before, and it’s brutal on my body and on my psyche.
I will be increasingly asking for disability accommodations at venues, as I simply can’t move, stand, or do the things I once could.
Le Pustra was kind enough to let me in the theater early to find a seat that was comfortable for me. Pure luck that I picked the one where Julietta was going to be making a very naughty phone call – my luck, that is! I was also very grateful to both Mayliss – stage manager Lady White Rabbit – and Julietta la Doll for warning me about the water in Julietta’s performance and making sure my art wasn’t damaged!