Reviewed by Georgia Cassimatis
For a ‘virgin’ like myself, who had never before had the ‘The Rapture’ experience, much curiosity and anticipation surrounded this sold-out show; a show with humble beginnings in a dive bar in Newcastle, graduating like wildfire to this year’s Sydney Fringe Festival.
If the packed house at The Vanguard was anything to go by, not only were tickets sold out, but my table was being watched like a hawk in case I didn’t turn up. This show has hit a nerve in catering to a thirsty public, the audience of which look as though they have been searching for a show like this all their lives.
The brainchild of Cleo Rapture, Pole Dancer extraordinaire, or should I say ‘sextroadinaire’ such is the double entendre throughout, her mission was to create a Queer Variety Spectacular showcasing Pole Dance, Circus, Sideshow, Burlesque and Drag, with the best Queer performance artists in the business.
An incredible force, she fronts the show as producer, performer and MC, referring to herself throughout as the Pole Dance Daddy, a BubbleGum-Goth Goddess, a buttery smooth spreader of lust and legs, and a professional wearer of sparkly underwear who promises to leave us, the audience, caressed and corrupted.
Leading an eclectic cast of five, alongside an Auslan interpreter, the long lustrous legs of three women in shiny patent platform stiletto knee high boots appear through the red velvet curtains performing a stylish leg and boot dance perfectly setting the tone for the night: highly skilled choreography wrapped up in lust. The stiletto boots are a character itself.
Introducing the show, the word ‘Rapture’, promises Cleo, means ‘going up to heaven and having a really good time.’ She assures us she is one ‘misleading lady’, terms Newtown the ‘jewel in the butt plug in the arsehole that is Sydney’, and promises her show to be a hilarious spiritual experience that goes beyond ‘how ya goin’?’, and applauds the heterosexuals for ‘taking the night off from being mediocre’.
The cast then take over, each act beautifully unique.
Aerial Queen, and winner of Miss Lyra Australia, Tabitha Katz opens the show exquisitely, her aerial hoop skills mesmerising. Dancer extraordinaire and sultry singer Cyrus dressed in dripping white pearls and lingerie sings a fabulous version of Britney’s ‘Toxic’, while Bravissimo: the record-breaking whip-wielder, and the one male performer who gives the show a breather, in his tartan stillettos, does a fabulous rendition of Doja Cat’s ‘Bitch and Boss’ while literally sewing a glittery shirt. At one point, he skilfully whips roses out of Cleo Rapture’s mouth. Curve model and burlesque artist Mama Medusa, a voluptuous vixen redefines body love and image with her high-intensity moves, and award-winning hula-hoop boss Hannah Indigo (a favourite), was out of this world beyond extraordinary with her hoola-hoop prowess, at one stage literally setting her crotch on fire.
The success of the show is not only the skill, beauty, fun and talent, but its connection to the audience, sense of inclusivity, and community appeal. Featured was a skins for skin segment where the performers do a floor show for cash, which goes to the charity ACON health NSW: supporting the regional NSW LGBTQ+ community.
While The Vanguard was the perfect venue to host such a show with its intimate atmosphere, angelic music, red hues, black and white framed photographs of eras gone by adorning the walls, it may just be a bit too small for this type of demand.
For more information visit: sydneyfringe.com and cleorapture.com