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The Cabaret Switch

The Cabaret Switch

The Cabaret Switch

Photos Sin Bozkurt

 

When two of Et Alors?’s favorite artists decided to do a personae switch, a smile appeared on our faces. Queen of fetish cabaret and diva extraordinaire Marnie Scarlet, transformes into Mr. Pustra, Vaudeville’s Darkest Muse. We leave it up to them to tell you all about it. 

 

Name Marnie Scarlet
What Getting under Le Pustra’s skin

I have known Le Pustra for a number of years now and I have always valued and admired him as a person and a multi-faceted visual artist. We appreciate each other’s style which both compliments and contrasts. I love the inner strength of his various characters, the dark and melancholy aspects, as well as the beautifully executed make-ups and outfits. When Le Pustra approached me with the idea of a Cabaret Switch, I was honored and excited. We started laying out the plans and asked good friend and experienced Cabaret photographer, Sin Bozkurt to immortalize the project. We have both worked with Sin before and he understands both our characters very well. We decided to swap two of our Looks/Characters. We both have a pop-culture icon based act in our oeuvre: for Le Pustra that’s a phenomenal Klaus Nomi act, for me that’s a tribute to Marilyn Monroe in Warhol style. It was amazing to be transformed into le Pustra and to be transform by him in return. Quite spooky and magical. During the shoot we truly transformed into each other’s creations which was an amazing creative process. When some of the photos went up on our respective Facebook sites, it actually did cause confusion as to who was who, and what was going on. The reaction we wanted!

 

Name Le Pustra
What Wearing Marnie Scarlet’s (shiny) skin

I approached Marnie regarding this concept in late 2013 as there are so many similarities between our public personas. I thought it would be interesting to portray each other and see what happens. I really adore her visual style and skill as a latex designer and visual artist. Marnie was very happy to be involved and we decided on switching our ‘icon’ characters e.g. Klaus Nomi and Marilyn Monroe – both latex – and our signature ‘Marnie’ and ‘Le Pustra’ looks, e.g. the Pierrot clown and Rubber Dolly. Photographer Sin Bozkurt agreed immediately to be part of the project and we even used our favorite studio in London. I think it was quite tricky to do each other’s make-up and it was interesting to find out how well we knew our own faces. Yet doing our own face on someone else, was definitely a challenge. Marnie even made a latex outfit in my size to wear as her Rubber Dolly. How wonderful was that? Since she has let me keep it, there might be a chance you may spot a slightly larger Marnie running in the streets in the near future. I must confess how much I admire Miss Marnie for wearing her, sometimes restrictive, latex costumes. The amount of effort and thought she has put into those designs. I don’t know any other artist whose work is so detailed and so clever.Bravissima, Marnie! Collaboration between artists can be such a rewarding experience and Marnie is one of my most favorite people on the scene as she is just brimming with talent, color and energy. And she has a heart of latex gold. I would work with her any day and look forward to see how she evolves over the coming years. I expect nothing but greatness from the First Lady of Latex. It was a fun experience being someone else for a day.

 

www.marniescarlet.com
www.lepustra.com

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Extravaganza

Extravaganza

Extravaganza

Text JF. Pierets    Photos Extravaganza

 

Lars de Valk founded Extravaganza. The first extravagant bears, lesbians, muscle boys, club kids, drag queens, fag hags, fetish clubbers party with a positive vibe in Antwerp, Belgium. Bringing you happiness with themes such as Asian Persuasion, Sinners & Saints and The American Dream. With a crew of 20 performers styled by Harald Ligtvoet and a unique atmosphere, Extravaganza is by far one of the most positive and succeeded ‘be whoever you want to be’-parties we ever experienced so far. 10 reasons why we like the man behind the scenes. 

 

The beginning.
I come out of fashion retail. A family business. When my parents retired I was out of a job and because I wanted to change the course of my life for yet a very long time, it was no disaster. I’m part of a theatre company and every time I was asked to do something creative, I flourished so I started thinking about something that gave me the same amount of satisfaction. I started thinking about an all-round party concept.

The city.
Antwerp was in need for a new party but it had to be good. It had to be a concept instead of once again another mainstream party. Since the inhabitants of Antwerp are quite highbrow, it had to be something that could resist the cynicism of the audience.

The concept.
I had the summer of my life – well, until now – in Provincetown. I was there during the carnival week and never experienced such a feeling of unanimity. From the most trashy transvestites to leather boys and from bears to lesbians. Everybody just accepted everyone for what they were, partying together at one and the same place. I wanted to capture that feeling of equality. It was unique.

The atmosphere.
I didn’t want an underground concept because those are numerous. I didn’t want anything that had to do with sex. Not on top of it. I’m aware of the fact that sex sells, especially in the gay scene, but I was in need of a place where you could be relaxed. A place where you could flirt without the pressure of a darkroom around the corner. I wanted to create a fun and positive night. A place where people got swapped into a certain sphere in which there was no time for negativity.

The music.
When it comes to music I wanted something I heard in New York. No house, no techno, but old songs combined with contemporary beats. It’s a nice angle to start experimenting.

The crew.
We planned the first edition of Extravaganza in November and started preparations in September. I was looking for people to entertain, via Facebook, via people on the street, at parties. I talked to them out of nowhere. Asking if they wanted to be part of a new party concept. People seemed to be extremely enthousiastic. Then I met stylist Harald Ligtvoet who wanted to interpret my moodboard and was willing to ‘design’ all the entertainers. I’m so extremely gratefull for this group of people who are working around the clock on this concept.

 

 

‘I integrated the slogan: ‘Come as you are’. Whoever you are, you can be yourself. It’s not a gay party. Everybody is welcome. It’s a statement.’

The slogan.
I wanted to work in themes. People don’t have to dress up, but they are welcome to do so. Since I wanted to capture the feeling I experienced in Provincetown, I integrated the slogan: ‘Come as you are’. Whoever you are, you can be yourself. It’s not a gay party. Everybody is welcome. It’s a statement.

The look.
Decorating makes me happy. Setting a theme, making a mood board, talking it through with the team. I love it! It’s also great to be able to work in Het Felix Pakhuis because then you know what you are doing and how it’s going to look. We start decorating at 8 o’clock in the morning and the make-up and dressing of the entertainers starts at 5.  Its hard work but you know you will be in bed at 8 the next day so you can set your state of mind.

The production.
It’s a lot of work and sometimes I think I’m having three jobs. I’m both graphic designer, organizer and manager. I wanted to do it myself. The marketing, the thinking, the counting. I found that marketing is harder then I thought so I used promo media to help me. All the artwork and campaigns on top of the party organizing part. But it’s worth it. We have a full house, a happy crew and our visitors seem to like it very much.

The future.
You catch me at a moment of complete exhaustion as we just did the closing party at the Gay Pride Brussels. So we’re doing well. Next to our regular parties in Antwerp we were asked to also organize Extravaganza at other locations. We’re having a party at the Antwerp Pride in August and are going to The Netherlands for Milkshake festival.  I’m a dreamer while standing with my 2 feet on the ground, but who knows what comes next. As for now: the future looks great!

 

www.extravaganza-party.be

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Mister Joe Black

Mister Joe Black

Mister Joe Black

Text JF. Pierets    Photos Scott Chalmers

 

‘A constantly evolving cabaret chameleon, blurring the lines of decency within entertainment and continues to drive music and performance into strange new realms’ and ‘No stranger to the absurd, Joe Black creates a world where the shocking is the sublime and the ridiculous is the beautiful’, are just some of the numerous quotes we find when reading about Mr. Joe Black. An interview with the gin drinking cabaret darling, musical comedy misfit and acid tongued ringmaster.

 

How would you describe what you are doing? 
Attempting to evoke the dark spirit of Weimar Berlin through the use of modern song and comedy nonsense.

Have you always been the creative creature that you are today?
I suppose so, yeah! I always loved acting and showing off. I meddled briefly in the world of filmmaking but decided my calling was performing rather than being behind the camera.

Would you like to tell me about your childhood? 
My mother was a jackal and I was often followed around by a large black dog….that was the plot of The Omen, wasn’t it? Though I enjoyed drawing, painting, dressing up and playing games in my mind, I was always fascinated by villains. I wanted to be a super villain and take over the world.

What social reality lies beneath all that make-up?
I seem to have molded everything into one big messy ball. I perform and produce shows on a full time basis, so there isn’t really much of a gap between my reality and my art. I’ve let it envelop me and I don’t think I would ever change that. I love it.

Do you feel the urge to push boundaries?
All the time. I often have been told ‘no, you can’t do that. It’s taking things too far’, but I’ll try to push them as often as I can.

Does your look give you the chance to become who you want to be?
I think it aids it, definitely. Once the make-up and costume goes on, I feel like I’m ready to go on stage. It helps me to fully realize what I’m trying to achieve.

Do you aim for a gender- and sexless look?
Yes, completely. I want people to have to second-guess my gender. I don’t aim to look like a woman and I don’t aim to look like a man.
I want to look like a painting. Something from a twisted imagination!

On you’re website you talk about dark cabaret. Will you be able to do what you do for a long time?
I will continue to do it as long as I can. When the time comes where I can’t do it… I’ll probably still do it. Regardless!

 

‘I want people to have to second-guess my gender. I don’t aim to look like a woman and I don’t aim to look like a man. I want to look like a painting.’

Do you live in a fantasized parallel world?
Sometimes. I think it depends how many performances I have coming up. In times that are very busy, it is easy to become detached from reality and lose yourself. Sometimes I take my makeup off and I don’t recognize the person looking back at me.

When and why did you make the step from street performances to indoor shows?
Street performing can be cruel and unkind. I preferred the idea of a dedicated audience, rather than people who may not be interested or those who may feel aggressive against it. I think I did street performing for about a year and then fully took it inside. I haven’t done a street performance in a very long time.

Do you think legacy has become important for an artist? If so, what do you want to achieve?
A legacy is all the artists’ work. It is what they leave behind. I think it is incredibly important… it’s everything. What would be sadder than to do all that work, when nothing would be remembered? An artist’s legacy is their mark. It’s their tattoo on the world. I don’t think that should ever be forgotten. It should be appreciated for times and times to come.

Am I taking the whole thing too serious?
Not at all. Performing is a serious thing. Whether it’s a funny performance, a sad performance, a  emotionally devastating performance or even just something really lighthearted. You leave a lasting impression on people. I think that is something to really be treasured.

 

www.misterjoeblack.com

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Mr. Pustra

Mr. Pustra

Mr. Pustra

Text Akim A.J. Willems

 

“I wouldn’t mind appearing on the cover of Vogue.” Mr. Pustra aims for no less than the sky when he is asked about his goal for 2012. Knowing one should never run before one can walk, he tests the waters with an interview for Et Alors? Magazine.

 

We caught up with the UK based performer, artist, musical saw player & video editor after a trip to Rome where he taught a “vaudeville & variety masterclass”, which can only mean that he’s good at what he does. No wonder our curiosity was aroused: who is this Mr. Pustra? “I was always shy and insecure. I just day dreamed most of my time and pretended to be someone else, be it no one in particular though. Gradually, my confidence grew during my 20’s so I was a late bloomer as they say. I feel more assured with the person I am today and I owe it to performing. Being Mr. Pustra has made me more at ease and people seem to respond well to him. Or me? I get confused. Mr Pustra “is” me. But he just looks better.”

Mr. Pustra discovered cabaret and vaudeville by chance. “I always liked comedy, and vaudeville was an unknown term on the neo-burlesque scene in London circa 2006. On a side note: nowadays everyone and their goats refer to their acts as “vaudeville”; no bitterness here as you can tell. But anyway: in those days “Pustra/Vile-een” was born, a double act that quickly established itself as a refreshing, strange and highly talented duo with a twist of a sideshow. We split in late 2009. Later on I reinvented myself as Mr Pustra, Vaudeville’s Darkest Muse.” A “dark” muse? Is he angry, evil, melancholic or perhaps depressed? “Mr. Pustra started out as an “evil sideshow character” with a background in the circus which we used in my show “Villains”. And yes, he also has a melancholic or tragic side to him.  He has developed into an almost real person rather than a fantasy.”

Although his family was absolutely not into music or theatre – “Not at all!” – Mr. Pustra has a background in theatre and fine arts. “I studied ‘Theatre’ and had a few years of education in the “Fine Arts”; that helped me all the way. I learned to do everything myself and hone my various skills. It’s bloody exhausting, I can reveal that much.” That background is also noticeable in his influences. There are, of course, the obvious instigations for cabaret/vaudeville artists: circus side shows, American vaudeville, German countertenor Klaus Nomi, German dancer, actress, writer and prostitute Anita Berber, movie stars Marlene Dietrich and Charlie Chaplin or the Berlin Weimar “kabarett” scene of the 1920’s and 1930’s. But Pustra also lists painters such as Otto Dix, Edgar Dégas or Henri de Toulouse-Lautrec.

 

 

‘Being Mr. Pustra has made me more at ease and people seem to respond well to him.’

“I used to be a painter myself; the images that these artists created represent dreamlike scenes I often experience. Their work has style and story that I greatly admire and draw from.” “If I could ask any of my “heroes” – dead or alive – a question, I would ask Dietrich to give me make-up tips and Nomi to give me singing lessons. Dietrich’s make-up was flawless. She also was fearless and a very strong female role model for women and men alike. I admire Nomi for his incredible falsetto vocal range. To top it all off his stage persona was fiercely enigmatic and original.”

Mr. Pustra has performed in New York, Frankfurt, Rome, Berlin, Basel, Dublin, Strasbourg, Rotterdam, Amsterdam, Paris and in  many more cities. “But London is ‘the’ place to be for cabaret. It is vibrant although somewhat jaded. I have a love/hate relationship with London. It’s like an ex-lover you can’t stand but still want. Know what I mean? Paris and Berlin have smaller scenes, but offer different delights and treats.” His newest show is called Kabarett der Namenlosen (i.e. Cabaret of the Nameless).  “It’s a work in progress and inspired by the Berlin cabaret of the Weimar Republic. This is a show about Beauty, Glamour, Depravity and Melancholy. Sounds nice, non? It is not a solo project. I would want to include performer Vicky Butterfly and actor Benjamin Louche for different reasons. For now, I perform at various other shows with smaller acts and cameos.” To round up we end with a similar question as we started: what are his long term goals? “A house in the south of France. Or maybe in Los Angeles, but I certainly would have lots of cats. And a naked butler!”Don’t forget to call us when you’ve moved there. We will come and visit.

 

www.mrpustra.com

 

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Marnie Scarlet

Marnie Scarlet

Marnie Scarlet

Text JF. Pierets

 

Although the definition of Burlesque says “a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects”, one cannot erase the image of Von Teese having a bath in a champagne glass or cuties twirling around the stage wearing nothing more then nipple pasties. Nevertheless, that was before we saw Marnie Scarlet perform in a combining mix between fetish and performance art, between burlesque and a touch of cabaret. With her fabulously larger-than-life latex outfits and wittedly deviant shows, Marnie will shock and tantalise in a vortex of surrealism.

 

From SMack! in New York to TG and Club Anti-Christ in the UK and even the Cannes Film festival, Marnie has performed all over the world at fetish and cabaret events, her style appealing both to fetish and cabaret audiences. 

 “Besides the fact that I have elements of burlesque and striptease in my shows, I do not conform to traditional burlesque standards. It’s not that I don’t like a well produced burlesque night; some of them are really great, having circus and body acts instead of only striptease, but it’s just not me. My performance is something I myself would like to watch. A bit different and hopefully something that hasn’t been done before. Put fetish, burlesque and performance art in a large bowl and shake it all up. Throw a nice hat on it, a collar and some heels and go out there to grab the world by the balls and chuck it on stage” 

Marnie creates all her outfits herself, favouring raunchy rubber, but not afraid to add some fine fabrics into the mix. From coats made out of hair-extensions to meters of beautiful lace laid over latex. Categorizing Marnie is not possible. She’s everything but ordinary, showing herself off in such a terrific way but also as a designer for Libidex UK. The one-eyed soldier, a bride corpse, a bloodthirsty nurse, a crazy clown – every detail of her costumes is perfectly composed.  “The whole show starts with the costumes. It always starts with something I made and the thought about what that personae would do.”

Some of her acts like Poison Ivy and Voodoo Apocalypse incorporate body piercing and culminate in setting fire to sparklers connected to the piercings in her body. “When I made that Poison Ivy dress I thought to myself ‘What does Poison Ivy do?’. Well, she stings, so I created a piercing show.“

‘With a touch of make up and a dress, you can be another person. I always loved dressing up.’

By being a strong, independent woman, Marnie could almost be considered a role model but she’s not out there to make a strong statement. “I’m just being me when I’m on stage. It’s very basic. When I was starting I had so many ideas and I wanted so eagerly to put myself on a stage, that any audience was suitable. As long as I could do what I had to do.” Nevertheless she’s not afraid to make a point, to make people think. Her Tin Soldier act is an averment against war without making a big point of it. Once you come to understand her show, these moments of explicitness blend into the overall of the act. 

Because Marnie looks like a work of art, a resemblance with Leigh Bowery comes to mind but it’s more a way of life instead of an act. “Putting on clothes always makes me feel good. With a touch of make up and a dress, you can be another person. I always loved dressing up. When I was little I had a dress up box but when I grew up people told me I couldn’t do that anymore. So I decided never to grow up. It worked.”

When asked about her future plans, one can only wear shades because of the brightness. “I have recently done the Red Exhibition at the Cultivate Vyner street Gallery (my red latex Clown Stilettos went on display there) and will put a bull skull that I have decorated and worn for a shoot/performance in an exhibition called Mexico Sienestro, at the Resistance Gallery. I have a lot of exciting gigs lined up which you can check on my website but amongst others, I’m performing my Apocalyptic Voodoo show at the infamous Torture Garden on New years Eve in London!!! You see, I love my life and it is safe to say I’m living the full on Fetish La Vida Loca!!” 

 

www.libidex.com
www.marniescarlet.com

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Et Alors? magazine. A global celebration of diversity.