Footage of Miss Indigo Blue’s amazing handover at the Burlesque Hall of Fame Weekend 2012 is now available online, and you can watch it below. Burlesque Beat’s J.D. Oxblood describes the epic production…
“It speaks volumes about Miss Indigo Blue’s personality and inclusive spirit that, given the opportunity to rule the stage solo before her peers, she chose to share that stage with a veritable army—an army that represented every body type, sexual identity and sexual orientation known to Goddess. And a whopping “it takes a village” number it was: Queen cape by Echo Boudoir; gold gown from Seattle Opera; backup dancer wear by Danial Webster; Indigo’s undergarments by Charlotte; Crown fashioned by Dixie Darling, embellished by Charlotte and Echo Boudoir.
The first and second songs were contributed by Scott Ewalt, the third recommended by Lola Spitfire and Bronwyn —the fricking ridiculous “Crown on the Ground” by Sleigh Bells (a beat so loud and aggressive, that after realizing mp3s and computer speakers could never do it justice, I promptly ordered that shit on vinyl so I could blast it at speaker-bleeding volume while writing this—plus rock it the fuck out in the Blue Room at the next Tuesday Night Dance Party).
Inga Ingenue was the dance captain for the whole act, and the group choreo to “Crown” was by Lux LaCroix. I’ve seen a lot of crazy shit in my days—two bulls fighting each other on a muddy field in Western Sumatra, “MacBeth” performed in Maltese on Malta, the stars above the Sahara desert—but that “Crown on the Ground” number was just… untouchable in the world of burlesque. My pen and notebook dropped to my waist, and I stared slackjawed, taken aloft long before Indigo was literally hoisted up into the eaves. To quote Miles Davis, “Man, that shit was a motherfucker.””
Courtesy of Burlesque Beat.
Quoted in major international newspapers and held in high esteem and affection by the international burlesque community, 21st Century Burlesque Magazine has documented the contemporary burlesque scene since 2007. Founded and edited by Holli-Mae Johnson.