Theatre Design & Technology - Fall 2019 - 65

early burlesque influenced, and in fact
directly caused, some of the initial obscenity legislation around popular entertainment in America.
To establish burlesque costume
norms and conventions, the first two
chapters take us from burlesque's inception in 1866 through the 1930s. Scott
examines the burlesque costume's origins and relationship with the theatrical
styles found in music hall, circus, hoochie-coochie dancers, and the dancers of
the Folies Bergere in Paris. From her
research in Great Britain, Scott brings us
a detailed examination of the design and
interior construction of an original Folies
Bergere can-can dress and a sequined
dress worn by a music hall singer. She
also shows us several views of an original
acrobatic costume along with its corresponding cabinet portrait of 1889, documenting the costume in context with the
performer wearing it. From the treasures
of private British collections, Scott offers multiple views of a sheer nude mesh
chorus girl's bodysuit hand embellished
with heavy metal sequins, and a beaded
hoochie-coochie dancer's costume, both
from the 1920s.
The 1940s and '50s are considered
"The Golden Age" of burlesque. In chapter three, we learn that burlesque shows
were evening-long productions in highend nightclubs and were a popular datenight activity for the moneyed crowd who
wanted something a bit more glamorous
and perhaps risqué. In this chapter, the
book revels in the lavish costumes of the
burlesque stars of that time: Gypsy Rose
Lee, Lili St. Cyr, Betty Rowland, and
Tempest Storm. From private costume
collections in America and Britain, Scott
gives us numerous views of original costumes worn by some of these famous
performers.
In chapter four, author Scott examines the social forces of the 1960s and
'70s that caused "the death of burlesque."
Paying to see old-fashioned striptease
went out of style with the societal tsunami of 1960s feminism, the birth-control
pill, and XXX-rated movies. With photo
documentation and from interviews with

exotic dancers of the era, Scott shows
how burlesque costume design and performance responded to those changes.
The rise of new burlesque spans the
1980s to 2002, growing out of strip clubs
and dance clubs. In chapter five, Scott
centers her research in interviews with
designers and performers active during
those years. Particular highlights are interviews with Laura Byrnes, founder of
Pinup Girl Clothing, Catherine D'Lish,
the neo-burlesque performer and costume design super-star, and with Garo
Sparo, New York fashion designer of Project Runway 2019 fame.
Scott brings us to today's neo-burlesque costume design in chapter six,
which is devoted to a series of interviews
with well-known, contemporary burlesque costume designers, makers, performers, and influencers. Detailed photos
show the many layers of their costumes,

all of which are part of performances onstage today.
General readers will devour this
book for its details and beautiful illustrations. Scholars will appreciate the comprehensive bibliography that will lead
burlesque enthusiasts and researchers
alike to deepen their knowledge of this
American art form. Each chapter includes
endnotes to give context to the topics or
terms discussed and the index is vital in
navigating back to that gem of historic
information you need to find again. The
glossary defines not only clothing terms
but also terms used in the world of burlesque and theatre.
Laurie Kurutz is professor of costume
technology at the Oregon Center for the
Arts: Theatre at Southern Oregon University in Ashland. Reach her at kurutzl@
sou.edu.

Wireless Systems

Affordable Full Duplex
Wireless Intercom
 Simultaneous talk & hands-free for up to 9 users!
 Select the Lightweight and Midweight headsets
you need for a fully customized system.

www.eartec.com
800.399.5994
FALL 2019

THEATRE DESIGN & TECHNOLOGY

| 65

http://www.eartec.com

Theatre Design & Technology - Fall 2019

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2019