When the scene queries and discusses the activity of the Burlesque Hall of Fame, it’s so easy to refer to it as a collective ‘They’, as if it’s a monolithic, mysterious entity. As the sole, human operator of this publication, I can certainly empathise with that vague perception. The truth is, the Weekender at the heart of the burlesque calendar is a bustling microcosm of individual efforts, skills and passions, contributed voluntarily by devoted industry folk just like you. At a time of great uncertainty for BHoF and burlesque professionals at large, I felt it was time we met with and appreciated some of them.
To watch the whole team at work, and all the performances at the Burlesque Hall of Fame Weekender 2025, purchase a livestream pass (per showcase or the whole weekend) and be part of the magic – starting tomorrow!
Dustin Wax: Executive Director
Dustin Wax met BHoF director Laura Herbert in 2007-8 while looking for a new museum role in Las Vegas, and she invited him to apply his experience to the BHoF Museum at its Fremont St. location. In 2011, at a stakeholders summit, he presented a five-year plan to get the museum into a bigger space, and was subsequently asked, by Laura, to step into the director role and execute it. In 2018, the museum opened at its current location on Main Street.
Dustin is “deeply involved” in running the Weekender as well, working with heads of production teams to “make all the broad decisions – especially the financial ones, run the selection process, and work with the venue.”
Following his recent announcement that the museum will close in July, there is obvious concern among its supporters about the survival of the Weekender, too.
“The main reason we are taking this extreme measure is to make sure the Weekender and the collection persist,” Dustin explains. “The Weekender and collection can survive without a museum. But the opposite is not the case, not at the moment anyway.”
While this move frees up more financial resources to dedicate to the Weekender, a more immediate issue is the growing fear of travelling and attending.
“Given the state of the US border at the moment, we are losing a lot of our international audience and performers,” Dustin confirms. “We are considering a lot of new strategies for the Weekender, including potentially moving it out of the country for a time. With the whole world in chaos at the moment, it’s hard to say we’re 100% sure we can make [it] work, but as far as it is in our power to do so, the Weekender will continue.”
Dustin confirms the attendee demographic is “very much more industry than public,” and while the Movers, Shakers, and Innovators Showcase is “a great show for a non-burlesque audience, the others are a harder sell.”
“The general public doesn’t have the understanding or appreciation of Legends that people in the burlesque scene have, and the competition is a pretty long show if you’re not an initiate,” he expands.
“We produce a local show that is explicitly aimed and marketed to a non-burlesque audience, and it is quite popular. But there also needs to be a place for the best of the best, and for the burlesque community to come together, and for 35 years that’s been the Weekender – a Striptease Reunion started by Jennie Lee all the way back in 1957.”
The increasing diversity of the performer lineups, however, is a point of pride for Dustin and his team.
“For the last several years, we’ve had an incredibly diverse production and group of title-holders. Some of this reflects the changing demographics of the burlesque world and the [persistent demands] that BIPOC, LGBTQ+, fat, disabled, and other performers who have long been excluded be given their space onstage. But we’ve had to challenge and reconsider a lot of assumptions baked into the event – the preference for classic acts, for example – in order for a diverse group of people to feel like they had a place on our stage. There’s room to grow, of course, for both us and for the wider burlesque community, but I am proud of the success we’ve had so far.”
In light of recent confusion on social media, can Dustin clarify if all BHoF applicants ‘get a shot’ in front of the jury?
“There are about fifteen people involved in selection each year. Every applicant is considered, but not every applicant is seen by every selection committee member. The internal committee scores every video and the top third-to-half of each category are sent for wider review. Many selection committee members don’t get through everything they’re sent – it’s just a lot – but our goal is to have at least five outside committee members view any given video. For competition, the show is put together from the top-scored acts in each category. There is a curatorial process to assure diversity of each category as well as we can across race, nationality, gender, style, music, body type, physical ability, geography, and so on. Everything else is sent to the Thursday producers along with notes to pay particular attention to specific acts, and they put their show together from that.”
Dustin has nothing but praise and gratitude for the team that make the Weekender happen each year.
“I say this every year on stage, but it bears repeating: this event happens, and it happens as well as it does, because about 25 people volunteer their time, effort, and sweat for months every year to make it great,” he emphasises. “And another forty or so volunteer on-site to make sure all that work pays off. There aren’t enough words to express how grateful I am to all of them.”
KiKi Maroon: Producer – Tournament of Tease, Saturday Night
One of the most high profile responsibilities falls to KiKi Maroon, producer of the legendary Saturday night competition, which crowns, among other awards, a new Mx Exotic World. 2025 is KiKi’s second year producing the Tournament of Tease, but she’s been volunteering or fundraising since she first attended the Weekender in 2013. It’s easy to imagine overseeing such a prestigious, marathonic moment in the annual burlesque calendar as a daunting task, but KiKi takes it in stride.
“I have almost 15 years experience producing my own shows in Texas, Vegas, and Los Angeles so I feel SUPER confident in my ability to build a running order,” she asserts. “Putting lots of thought into the set list beforehand is the best way to keep the night exciting for everyone. I watch all the videos, listen to all the songs, read all the lighting notes, and I try to take the audience on a journey from one extreme to the next. A slow-grind floor act will be followed by a fast pace comedic act , followed by an ethereal aerial act, followed by a heavy political commentary. Creating an almost sensory whiplash not only keeps the audience engaged, but makes sure that each performer really stands out. Every single person on that stage worked their asses off to get there! I don’t want anyone’s act to fade into another’s.”
The Tournament is a notoriously long night, and KiKi is a merciless timekeeper.
“Everyone wants to head to the afterparty ASAP! I mean, I get it, but we have to be 100% out of the theater after the show or the museum will be charged a whole extra day of rental. So any suitcases or props that people think they can pick up the next morning become a liability and I WILL 100% take your stuff to the afterparty to make you carry around!”
What kind of emcee can steer a ship like this?
“There’s this perfect balance of being able to command a room or step out of the spotlight,” KiKi explains. “The competition night doesn’t have time for filler. Someone with ego, trying to make each intro about themselves is not going to work. But at the same time, things happen! Lights break, mics go down, the ballots take time to tabulate; things always happen. I need talented, funny, warm people who could go out there and riff for ten minutes if they had to, but be so entertaining [it seems like a planned part of the show].”
What about that veiled, presumably manic window before the winners are announced?
“That moment is all Mary Strawberry,” KiKi exalts. “She is a fucking champ and a life saver. She makes sure all the competitors are backstage, tracking down people in the showroom or bar, getting people lined up, the trophy room unlocked, prizes put in order, and so much more. While all that’s going on, the Judges’ Facilitator (previously Jo Boobs, who has now passed the torch to Tigger!) gets the ballots upstairs to be tabulated, then they run the results backstage to me and I get that to the hosts. It’s a whirlwind ten minutes that feels like ninety seconds.”
What’s it like back there after the prizegiving – does KiKi adopt a more pastoral role with emotions inevitably at a peak?
“There are certainly lots of emotions, but it’s almost all gratitude. Whether they received a title or not, most people are just glowing afterwards. I could be wrong, but it seems like the audience puts more weight on the results than the competitors. Most of them seem to have a very healthy ‘I really did it!’ attitude, which makes my job very rewarding.”
Sweetpea: Head of Legends Matters
In 2012, Paula the Swedish Housewife nominated Sweetpea to assist with all things Legends at the Weekender, including producing the Friday night show. Today, she is still heavily involved as Head of Legends Matters. She has presented two Legend of the Year Awards, and hosted the Walk of Fame for the past two years.
“The prep never really stops,” she tells me. “Because I’ve built close relationships with many of our Legends, I’m in regular contact, calling for updates, stopping by during travels, or making special trips if someone’s not doing well. Those connections help shape Weekender support plans – figuring out who can travel, accommodations needed, who requires a caregiver to join them, mobility aids, financial assistance, and so on.”
“[Friday] is not a standard showcase,” Sweetpea continues. “We’re working with an aging, diverse group of Titans, and getting them to the Weekender often involves weeks (or months) of calls, coordination, and reassurance. Once they arrive, it takes a full crew to ensure they’re safe, supported, and celebrated.
“The goal isn’t just getting them onstage – it’s helping them feel their impact, feel seen, feel held. We’re part stage crew, part healthcare navigators, and part party planners.”
Thankfully, Sweetpea has a very special, capable village to help her.
“Tigger! coordinates the Burlescorts like a champ, pairing for personality, amount of care, etc., including backups. Kitty Baby is all things vending – prioritizing space for Legends selling photos, and now getting the prints made for them as well. Wildvixen is head of volunteers, and she and I work to get transportation arranged from and to the airport. Miz Charlamay and BurlyCares, our Legend Hospitality lead and team, handles everything from snack stocking and wellness checks, to wheelchairs and escort emergencies, to show hair and makeup (thanks, LouLou Roxy!). I coordinate travel, hotel pairings (Legend roommates help cover nights), ticket logistics, connections to BurlyCon for teaching, and whatever else is needed to make magic happen.”
There have been many magical, rewarding moments for Sweetpea. “But one that lives at the center of my heart [was] helping Camille 2000 get to BHoF for her final performance in 2019, just months before she passed.
“After her terminal cancer diagnosis, I went down to stay with her for a bit – cleaning, cooking, running errands, helping her feel cared for. She told me she wanted to perform one last time, a fan dance to a piece of music she adored. I promised her that if she took care of herself enough and could make it to BHoF, I’d gather the ‘pussies’ (IYKYK) and we’d make it happen.
“With help from Bambi the Mermaid (costume, hair and so much more), Miz Charlamay (oxygen setup and more), and dozens more who pitched in, Camille performed. She was GLORIOUS. TRANCENDANT. The room was a puddle of tears and applause. She also received her Legend of the Year award during that show. I remember sobbing in the wings with Wildvixen, holding each other like our hearts might fall out.
“That moment changed me,” Sweetpea concludes. “I still love performing and being in the spotlight, but nothing compares to creating that kind of legacy moment for someone else. Since then, I’ve made it my mission to give the roses now – to get Legends onstage while we still can, and to sit at every bedside and be a true friend when they no longer can, reassuring them of their impact and value beyond their ability to perform.”
Bazuka Joe and Midnight Martini: Producers – Movers, Shakers and Innovators (Thursday)
![Bazuka Joe performs in the Sunday Night Finale alongside fellow performers, including Midnite Martini and Dirty Martini. ©Derek Jackson [Stage Door Johnnies Post-BHoF Recap]](https://21stcenturyburlesque.com/wp-content/uploads/2013/08/joe-finale.jpg)
Dynamic duo Bazuka Joe (Best Troupe 2011) and Midnight Martini (Miss Exotic World 2014) have produced the Thursday night showcase for three years.
“The first year was a LOT of trial and error,” Joe readily admits, “learning how to communicate across nine time zones, four languages, and manage the heightened nerves and weight that BHoF carries, especially for first-timers.
“Straight out of the gate we tried to up the ante on acts that were unusual, outside the box, or difficult to define. We had to retain the overlying format, of course, but added in fun storylines for our hosts (Lola Van Ella and Jeez Loueez).
“We also pushed for more accessibility by way of name placards on the screens during acts, subtitles on video elements, and full cast and crew inclusion,” Joe explains. “We wanted to make sure everyone felt included and appreciated – like family – so we pushed to have our whole crew and alternates in the opening number and curtain call.”
“Offering pre-festival virtual meetings, even something as silly as giving folx thank you cards, were all intentional choices made to support the cast and crew the best we could and set them up to be their best on that stage!” Midnight adds.
“We know Saturday’s competition draws a big crowd, and in my opinion nothing can beat Friday’s show where we get to showcase many of our Legends,” she explains. “So our goal was to make Thursday feel special in its own way – a night bursting with creativity, diversity, unexpected acts, wild stage presence, and that fearless ‘let’s do this’ attitude.”
“The backstage is like one huge party,” Joe expands. “There are no ‘competitive’ nerves and it feels like we’re all a big family. I have vivid memories of the backstage wings packed with performers cheering each other on.”
“The hardest part is only selecting a limited number of performers,” Joe reflects. “There are so many amazing submissions and they just get better every year. It’s important for us to have performers who challenge the idea of what can be considered burlesque beyond the striptease.”
Do they prioritise innovation and variety over finished, polished acts?
“The short answer is yes – innovation and variety over polish,” Joe says, “but there has to be a decent amount of both. We’ve seen a lot of acts with amazing innovation or gimmicks that just weren’t quite at the experience level that BHoF expects. As a performer who is a huge advocate of ‘the process’, if those same acts would run, refine and re-apply in a year or two, they would bring the house down!”
“It’s always a blend of elements,” Midnight agrees, “but innovation and originality can definitely make us (and the adjudication panel) notice an act more. As you know, the BHoF audience is no ordinary crowd – seasoned people who’ve seen a lot of amazing, polished acts. So when someone manages to surprise that audience? That’s magic.”
What does it mean to them to be BHoF titleholders, personally and professionally, I enquire?
“Now, more than ever, it’s important to be leaders in our own respective communities,” says Joe. “Visible leaders who can help keep our community positive, progressive, and most importantly, safe.”
“It’s become less about the performance opportunities and crown itself, and more about a continued chance to give back and be part of shaping and progressing the community,” Midnight agrees. “And a big part of that now is knowing when to step back, make space, and truly listen to the voices coming in. Art and communities should be dynamic – living and breathing things. They’re meant to grow, shift, and reinvent themselves.”
Blaze: Head of Non-Show Events
Blaze started out as a Weekender volunteer in 2011 and took over as Head of Volunteering in 2016. She became Head of Non-Show Events in 2021 and joined the Executive Team in 2022.
“Non-Show Events covers any event that happens outside of the showroom during the whole weekend,” Blaze clarifies. “The Meet & Greet and After Parties, the scheduled events such as Barecats Bowling, The Photo Frolic and the Shimmy Shuttle as well. I also oversee space and schedule coordination for the BurlyCon Finishing School classes and any other presentations as well. The most difficult thing is making sure that every event has everything it needs, at the time it needs it and in the correct space.”
Blaze works on the Weekender pretty much year round, with weekly Executive Team meetings and countless additional hours on hotel coordination, application review, and anything else that comes up.
“The most rewarding aspect is to help showcase so much of what Burlesque has to offer … to create a space where people can have a fun weekend with members of their community and be dazzled and inspired by so much talent onstage,” she tells me.
“I wish more people understood all the effort that goes into this event and that it truly is not for profit,” Blaze continues. “We struggle every year with the burden of making this the event everyone wants to see, while struggling to keep costs low for attendees and still raising as much money for the museum as possible. Every bit of money or time given is to support the preservation of Burlesque history.”
RedBone: Head of Showcases
RedBone has a long association with the Weekender, first competing in 2006 with Foxy Tann and the Wham Bam Thank You Ma’ams, and debuting as a soloist in 2007. In 2019 she won MEW 1st Runner Up, and co-hosted Movers, Shakers and Innovators with Alotta Boutté in 2022. In 2023 she was asked to produce the Titans and Icons of Tease showcase, and is now in the Executive Team as Head of Showcases.
“I was asked to step in to the role mid-October, and following conversations with Dustin and long-standing Head of Showcases producer Kitty Irreverent, it was go time – making my lists, timelines, drafting spreadsheets, phone calls and emails. The Executive team has met every Thursday since January.”
How does she manage this role alongside producing the Friday night Legends showcase herself?
“The Head of Showcases keeps track of the production timelines, checks in on due materials, and communicates tech, showcase and showroom information between the executive team, the Orleans showroom and the individual showcase producers. I actually have very little to do with the showcases themselves other than the significant role of communicating who was accepted into what showcase based on TroupIt results.
“Producing Friday night as well isn’t too bad as I have a couple of showcases under my belt already. With Sweetpea’s experience producing this showcase along with Seven many years before me, there’s some ease in what is already a more flexible producing structure compared to the other two showcases.”
We discuss the particular audience reactions and perceptions of each showcase.
“The Thursday night audience is always ready to party. I think we can get stuck on the innovation aspect because we want to see shit we’ve never seen before, but that’s really tough with social media showing us so much at any given time.
“I love Friday so much and hope others do, too. Historically, people don’t buy tickets or skip it, at least enough to notice the difference. The Legends came up with half the shit we currently do in our burlesque routines, and shook their stuff so we can shake our stuff today. The beauty of seeing our foremothers perform can be be a really emotional night.
“For many, Saturday is the grand spectacle – the whole reason we’re here. To watch the best of the best in real time and witness who takes the cake, [as well as] seeing and supporting our friends. I’m really looking forward to hearing the whispers about this year’s showcase, as KiKi Maroon has some very thoughtful surprises planned.”
Is there anything she’d like to change or add to the format?
“I’m really interested in large scale production numbers throughout the shows versus just the opening numbers. We only have so much time, but it could be dope. I’d love an application category for tributes on Friday night, too. I also wouldn’t mind an extended time limit on Saturday or a new category for long-form burlesque. While this would take a spot from every category, that might accommodate some wonderful story tellers. Also, what would it look like if we didn’t have a competition, if all showcases were simply the best of the best?”
Kitty Baby: Vending Coordinator
Kitty Baby has been the Vendor Coordinator and Legend Vendor Coordinator for the Burlesque Bazaar since 2013. Her work for each Weekender typically starts right after the previous one, populating a list of enquiries as the email requests come in.
Kitty executes her Weekender itinerary with military efficiency.
“I do my very best to be the coordinator, not the controller,” Kitty explains. “I try to accommodate the merchants according to their wants and needs, and make sure there is a healthy balance between how many businesses we have and how many attendees are available to shop from them. I also try to make the flow and accessibility of the Bazaar an enjoyable experience for all involved, and I have always insisted that the Legends be included in the same space as the vendors. All of this makes the Bazaar a social space, learning space, creative space, and a marketplace.
Kitty sets up the room on Wednesday, and monitors the Bazaar open to close (with a break) for the next three days. Then it takes four hours for her team to break down on Sunday.
“I am also a Legend Escort for Gina Bon Bon,” Kitty adds, “which means attending all parties, red carpets, legend events, and showcases. All of my times, meals, breaks, prep times, and wardrobes are meticulously scheduled on three spreadsheets. One for events and activities, one for wardrobe, and one for Gina’s schedule.”
Are there special considerations when it comes to Legends vending, I ask?
“I try to have extra supplies on hand like signing pens, notepads, and photo sleeves if needed. If I am low on those supplies I may make a call for donations. The Legends are always ‘scheduled to appear’ Friday and Saturday from Noon to 5pm, but they are always assured by me that they can come and go as they wish. This takes a lot of stress off them and makes it more fun. I try to always make sure there is water available and they are as comfortable as possible at their signing tables.
Kitty’s dedication is evident in everything she says, and I ask why it’s so important to her to be a part of making the Weekender happen.
“I will simply say that I often imagine what Jennie Lee’s reaction would be if she witnessed all aspects of a Weekender/Reunion. [I think] she would be incredibly proud of us and impressed with us for all we’ve done and do.”
Olena Sullivan: Photo Corps Coordinator
Olena Sullivan began photographing burlesque fifteen years ago in her native Canada, and started writing and shooting for Burlesque Beat magazine in 2010. She was issued a BHoF media pass to cover the Weekender, and quickly got involved with the Photo Corps, run by Ed Barnas, who asked her to take over management of the corps in 2019.
“Preparations kick off in January, especially when bringing in new talent,” Olena explains. “Everyone signs a release form and then, come March, things really pick up.”
Seats are reserved based on each photographer’s strengths and preferences, and by April or May the Weekender schedule comes together. Each official event is assigned a photographer, and once wrist bands and badges are handed out, the team gets to work. Social media posts go up as soon as possible, and once the post-Weekender excitement settles down, the team has until Labor Day to finish processing and submit their photos to Olena. The finals are sent to the Hall of Fame archives and museum.
“It’s basically eight months of lively, lively burlesque mayhem!” Olena says.
There are some rules and technical requirements for photographers at the Weekender, and Olena sends reminders out beforehand.
“Just a few friendly tips: don’t block the view of paying guests, don’t use flash at showcases, and remember that the Legends have the final say on their photos – they work hard crafting their images and trust us with their moments.”
Olena describes the “special vibe in the air” and “one-of-a-kind atmosphere” as the corps captures and hangs out with legends and performers from all over the world, making long-lasting friendships. As well as the showcases, all official moments and many unofficial ones are captured. “We’re not just documenting history,” she says. “We’re here as storytellers, capturing moments that show our vibrant community and the rich history of burlesque.”
Some important members of the corps for Olena are Ed Barnas – “a great mentor, always there to guide me with a quiet, soft power as I learn the ins and outs of everything,” Allen Lee – “the heart and soul of our team, the life support for what we do, always thinking ahead,” and Frank The Rat – “part of the corps since the Ranch days with a classic, old-school vibe, who knows how to work a room.”
“You really gotta love the art,” Olena insists. “Live photography is super dynamic; you’re living it through your camera and you become part of that moment with the performers. And it doesn’t end when the show’s over – you’re often putting in hundreds of hours long after everyone’s flown home.”
If you can’t make it to the Burlesque Hall of Fame Weekender this year, or you’d like to see the results of all the passionate hard work described here, you can still purchase access to the livestreams.