The second night of my Autumnal Renaissance, the rediscovery of my Halloween spirit, came at The Night Owl Review. Nicky Ninedoors and the gang provided me with laughter, a tear, and three new favourite pictures to top the thousands I have snapped in the two years I’ve owned my current camera.
“Oh shit… She has a chair!” was my first thought as the stage was set for Lola Frost’s opening number. Sometimes, when Lola performs a chair routine, it is as though the music is an animal tamer, the chair is… well… a chair, and Lola is the whip that beats us hapless beasts into submission. There are also moments when she is the beast, seeking out her prey. Her routine that night produced a picture worthy of a National geographic spread on big cats. It’s now a favourite.
Nicky Ninedoors’ first routine could have been taken one of two ways: Firstly, it was Halloweeny in that it began with a ghostly, shrouded figure and ended with a flowing apparition. But, for me, it was also springlike. I saw a glorious, white butterfly emerge from its imprisoning cocoon.
If you are yet to see Burgundy Brixx perform “Sweet Transvestite” decked out as Dr. Frank-N-Furter, you are truly missing out. I was seated first row with a couple fellow blogosphere types. They drank coffee. I drank Pilsner. Good thing too. Had I been drinking coffee, I would have burned my crotch as my jaw hit the floor when Frank-N-Furter hit the stage. At the end of her routine, she produced a glitter-bomb she probably could have got onto an airplane with little or no trouble.
After the break, Crystal Precious made me cry. Granted, she didn’t beat me up and I wasn’t sobbing… exactly, but she did sing. I always say that I love to hear her sing. Often when she sings, she proves that vulnerability is not always weakness as her voice booms out the softest of notes. I did catch a tear and another favourite photo.
There has always been something very sexy about vampires. I don’t mean the sparkling Team Edward bullshit vampires either. I mean the murderous, fluid swapping, orgasm as death vampires. Nicky Ninedoors was sultry and coy in her second performance. Definitely suggestive too. Suffice it to say, had she been a real vampire, there’d be plenty of wooden stakes for the using around the room. She also gave me my third “new favourite” picture.
Burgundy Brixx took to the stage again with the only performance that could have topped her opener. The movement was more subtle to be sure, but her tongue was planted firmly in cheek and the crowd laughed themselves silly throughout. To try to describe it further would do it no justice. Let me say this: She sang “I Only Have Eyes For You”.
Lola finished the set with one of her “duck and cover” dances. Most of what I see Lola perform, a good 70%, is a steamy, maneater, predatory routine. But, every once in a while, Lola brings out a number, in which, her heels slam on the stage like a pneumatic nail gun and every movement is like a Soviet-era gymnast sticking her landing from the balance beam. At times like these, I don’t try to keep up. I just keep my eyes locked firmly upon her and say, “DAMN!” a lot.
I was saddened to hear that, for a variety of reasons, that night’s Night Owl Review will quite probably be the last in its current configuration. Fear not, however, Nicky Ninedoors can always be found performing around the city with Pandora & The Locksmiths, Lola Frost and Crystal Precious can be found every Thursday at The Keefer Bar’s Sweet Sip Thursdays, and Burgundy Brixx remains the Head Kitten at Kitty Nights, Sundays at The Biltmore Cabaret.
*UPDATE: I have been informed that The Night Owl Review will RETURN in January. Stay tuned!