On this episode of the Moisture Festival Podcast we are joined by the lovely La Petite Mort. We talk about how being a runway model led her to finding her voice and how that led her to becoming a performance artist.
We talk about what goes into developing her acts and how she curates her own shows to build up the community. We talk about the rave scene and what Gorelesque is. A fun interview with a wonderful person, we hope you love it.
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In this episode we welcome Nox Falls to Hales Ales. Nox discusses growing up in Texas and how burlesque was a way to combat shyness.
We learn about where some of the ideas for Nox’s routines come from and which ones get selected for shows. Nox also spits some spoken word poetry (which is a first on the podcast.) A really great conversation with a fantastic human being. You are going to love because we did.
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Whenever possible I try to go out and support magic shows. Last night I went out and saw a friend’s show. The show also had a musician and burlesque dancer in addition to my buddy’s magic show. It was a fun show. My main critique of the show was that lack of the use of … Continue reading “Don’t Speak Up…”
Whenever possible I try to go out and support magic shows. Last night I went out and saw a friend’s show. The show also had a musician and burlesque dancer in addition to my buddy’s magic show. It was a fun show.
My main critique of the show was that lack of the use of a microphone. There was a handheld mic, but only the singer used it. Using a mic is an important thing to do, it makes the show so much easier to pay attention to. My hearing is reasonably good, but I’m always amazed at how much I have to strain to hear an unmic’d performer.
Using a mic in whatever form is pretty cheap right now, compared to 15 years ago. You can get a cheapo headset mic and wireless pack and be good to go for probably less than about a hundred bucks. Would it be the best mic…no. Would it be better than no mic…probably.
When working in a show with multiple acts and an intermission, the show producer frequently splits up my act into two spots. One before and one after the intermission. Usually this happens in shows that have a burlesque background. The reason is the dancers can’t do one long set, they do two shorter ones. The … Continue reading “One or Two Spots…”
When working in a show with multiple acts and an intermission, the show producer frequently splits up my act into two spots. One before and one after the intermission. Usually this happens in shows that have a burlesque background. The reason is the dancers can’t do one long set, they do two shorter ones. The producer then lines up the show so that everyone does two short sets.
Personally I prefer to do one longer set. The reason is that it allow me to build momentum. As a talking act, I can build to a big ending in 10 minutes. In two 5 min chunks, essentially you’re doing two openers. Sure in the second set, people already know you, but you can’t build off the energy you built in the first set.
Another thing with split spots is that your second spot is building off of the energy of the previous act. If the act before you is super high energy, and your closer is a slow burn, it makes it much harder for the audience to get into it.
The final reason I prefer one spot is that if your have a rough first spot, you don’t have time to win the audience back. You’re finished before you get a second chance, then when you do come back for the second spot, you are starting in a huge hole. It’s so much easier to dig yourself out of a hole in one long spot.
My advice is that if you are a talking act the best thing to do is a single spot. Just because everyone else is doing split spots doesn’t mean you have to!
