The Butterfly Club Seek Expressions of Interest

The Butterfly Club are seeking Expressions Of Interest (EOIs) from producers and artists who wish to be a part of their 2017 /18 Curated Spring and Summer programs. Successful applicants will produce a one-week season of their work between September 2017 and February 2018. The Butterfly Club will consider independent works including theatre, cabaret, comedy, sketch, vaudeville, burlesque and live music.

Now in their 19th year of operation, The Butterfly Club are renowned for supporting independent performing artists by presenting their work, and by working with producers on audience development and marketing identity. The curated season will provide an opportunity for independent artists and producers to launch new works and to further develop established productions.

We launched our curated programs last year as a way of highlighting some of the finest examples of independent theatre, cabaret, burlesque, music, comedy and vaudeville” says Alexander Woollard, Artistic Director of The Butterfly Club. “Shows featured in last year’s Spring and Summer programs received wide critical acclaim, festival awards and touring opportunities.”

As with all productions at The Butterfly Club, show durations must be no longer than 60 minutes and must comply with all relevant OHS requirements.

Successful applicants will be offered a season of 6 performances at 8.30pm for a week during Spring or Summer. Expressions of Interest should be submitted via The Butterfly Club website here by 5pm on Monday the 17th of July.

Expressions of Interest: Curated Spring and Summer Programs

Dates: September 2017 – February 2018

Deadline: 5pm, Monday the 17th of July

Venue: The Butterfly Club, 5 Carson Place, Melbourne


Put The Blame on Mame

Chapel Off Chapel – June 24-25


Fresh-faced Willow Sizer swaggers on stage for her debut cabaret Put The Blame on Mame, a tribute to her favourite jazz artists of the 40s. Draped in a fur coat which she soon discards, she buzzes with excitable energy.

Sizer has a knack for impressions. She slips into different characters, from the brusque Jane Russell performing Big Bad Jane to the sultry Eartha Kitt, pausing occasionally to pour herself a drink from the bottle of wine on the small side table.

She keeps the mood light with dry, self-aware remarks, transitioning between artists and songs with a selection of her favourite stories and facts about the women to whom she pays homage.

The show is an insight into her own childhood as well as a brief tour through the 40s; she throws in quips about growing up in rural Victoria, rifling through the “big dubs” bargain bin and going on spirals through the depths of Youtube. Donning a headpiece adorned with plastic fruit, she tells of how she came across Carmen Miranda’s The Lady in the Tuttit Frutti Hat on one such spiral before launching into the song.

Thanking her “mumager” in the second row and the audience for indulging her, she manages to be both unapologetic and self-deprecating. Quirky, witty, and a little bit risque, Sizer’s Put The Blame on Mame is an evening filled with gorgeous vocals; it’s a pleasure to share her obvious passion for performing.

Of Mothers Milk

Storming back into town with their (nothing short of) triumphant piece of cabaret, Mothers Ruin are Maeve Marsden and Libby Wood. It traces the history of one of histories more notorious liquors back to it roots, through times of prohibition and protest. Make no mistake, this show packs it in, featuring an incredible eye for detail and songs that are here rebirthed in a salubrious and untoward fashion. TAGG once again spoke with the trio (well one half of) ahead of their second coming, this time at Map57 in the custom built space The Box down on the St Kilda Foreshore.

Maeve, Since it’s inception at Slide Bar, and through it’s further development and presentations, how has this work grown?

Oh gosh, it’s grown so much. We’ve added songs, changed the script, added stories, shifted focus on some sections. The beauty of performing cabaret is that it’s adaptable and it grows with us as we tour our work. We’ve also performed the show now in so many contexts – in a spiegeltent or two, distilleries, bars, theatres and so on. We are so comfortable with the material, it’s just a joy to go to work.

Has it started to feel at all stale to you both,  given it’s continuing life and be honest now, are you sick of each other yet?

Haha! No, we aren’t sick of each other. It doesn’t feel stale because we let it adapt with us over time. Also, the stories are meaningful to us and we love these characters. We find new things in the words and music all the time. We are also currently rehearsing with a different pianist, Tom Dickins; he brings a different energy and character so the show changes again. Libby and I are also lucky to have a friendship that is focused on creative collaboration; we became friends because we love working with each other, rather than the other way around. And we get breaks from each other when we’re not on tour!

What do you think it is about the show that people just love so god damn much?

People love gin? I mean, obviously gin is popular right now and people love to learn about the things they are interested in. Also, and this is an odd concept to explain, but I think people enjoy the effort of the show. Sometimes, in the search of ‘cool’ performers aim to be blasé and detached. There’s none of that with us. Our passion and work ethic is really evident and I think people appreciate the effort that has gone into the research, the storytelling, the musical arrangements. It’s also silly and fun and we aren’t the worst singers…

What should audiences expect of this new season of work, taking it from the butterfly club to this new venue?

The show has matured, I think. We’ve really relaxed into the story telling and we’re super comfortable with the material. The venue at Map 57 is bigger as well so there’ll be the energy of a bigger crowd.

What have been some of the more bizarre comments you have heard in response to the performance? 

Reviewers sometimes comment on our appearance in weird ways, finding odd ways to let potential audiences know that we’re fat. “Buxom,” “physically fulsome” etc. A lot of audience members want to tell us their own gin stories but we love that.

Do you still love gin, are you still throwing them back like there is no tomorrow?

Um, yes. If anything, performing this show makes us love gin more. People want us to try the new gin they just tasted, audience members bring us their home made sloe gin, distilleries invite us to tour their facilities and try their creative blends, bars offer us their best cocktails. This is a dream job for a gin lover!

So folks, it maybe winter, but shake of those blues, and head down South for a night that will be decidedly gin soaked, but so very very fabulous. For more info or to book your tickets click here

Dolly Diamond: The Lady is a Tramp

THE LADY IS A TRAMP is an autobiographical tell-all and celebration of the life of a hard-working and fearless woman. Featuring tales of Dolly Diamond’s life, loves and (alleged) lascivious behaviour this show features sensational new material and the incomparable Shanon Whitelock on piano.

Like so many pioneering women before her Dolly refuses to be branded a ‘scarlet woman’ for simply embracing her sexuality or ‘opinionated’ for speaking her mind. This cabaret diva is making a loud and proud contribution in her lifetime and refuses to apologise for that.

Dolly says “I’m so excited about ‘The Lady is a Tramp’ – there’s so much musical talent in this show. It’s going to be my exciting show to date … guaranteed.”

Time Out says “She’s quick with a witty riposte and a loving put-down, and the audience laps it up. Dolly is no Diamond in the rough, but a rare and polished stone that lights up any room she’s in.”

The Herald Sun says “The music is fantastic and it’s impossible to keep feet or hands still … the highlight is Dolly’s interaction with the audience, which redefines what it means to be quick-witted, and leaves the audience hoping for a song so they get a chance to stop laughing and catch their breath.”

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Time: 9.00pm
Dates: Tue 27 June (preview) to Sat 1 July (five performances)
Duration: 60 minutes approx.
Prices: $39 full price
$34 for concession-card holders
$34 for groups of six or more people
$29 for Festival Friends

Dolly Diamond will also host the festival’s exclusive Opening Gala on Tuesday 20 June, and it’s closing night on Sunday 2 July. See for full details.

Cabaret From The Fringe

Kicking Off again on the 20th of June is our cities very own Cabaret Festival, and if your tastes are more excited by new, undiscovered talent, by pass all that is taking place south of the Yarra and head straight to The Butterfly Club. This local beacon to everything cabaret, everything awesome and everything independent, will be serving up a smorgasboard of tasty treats to keep you out at night and sure to be entertained, TAGG spoke with Xander from the club ahead  of the upcoming season….

In essence, what makes this program within the broader  Melbourne Cabaret Festival- “fringe”, how do you define this term, and in are broader context, do you perhaps identify with other fringe festivals loosing focus on  supporting artists in favour of audience development and sponsorship deals.

Well that question escalated quickly. In terms of where our program sits in relation to the Cabaret Festival and what makes it ‘the Fringe’, I think is best displayed by looking at the two programs side by side. On one hand the Melbourne Cabaret Festival has performers like Queenie van de Zandt, Ginger & Tonic and Jon Jackson, all cabaret veterans (for lack of a better term), and all shows promising polish and to be pretty ‘safe’ (also for lack of a better term).
Then you look at the Cabaret Fringe program and you get a whole bunch of brand new faces, risk takers and artists that are still fleshing out their own cabaret identity, classic ‘diamond in the rough’ Fringy stuff.
Cabaret has been around for a very long time, through it’s constant evolution of presentation style, performance and concepts, has lead to the form in which it embodies today, aside from such longevity, why is  it still  so relevant and popular with today audiences?
I think you have answered the question for me – because cabaret is constantly evolving, cabaret has stayed relevant. Cabaret is often a commentary on the current social, political climate mixed in with personal reflections, so as the social and political landscape changes, it feeds the cabaret artists new material. There is also a stream of cabaret that is nostalgia, which is really just the same evolution just at a parallel point in history.
In Australia, it can be argued that cabaret has it strongest following in Melbourne, due to the work of people like Mathew Grant, Neville and David  and now Simone who have not only been custodians of the space but pioneers in developing audiences for Cabaret. But after 24 years, how exactly will this years festival be able “push the boundaries of the art form” ,and is it even possible to further define locally made work?
I think the constant evolution of cabaret is always going to allow artists to push the boundaries of the art form. If you look at what cabaret is in Adelaide or Brisbane, you will find very different versions of cabaret as to what we know here in Melbourne. I also believe that there are a few artists sneaking around that are ridiculously talented and are raising the bar here in Melbourne.
Lets move on, give us a quick run down of  each  of the shows whats a single thing from each of them that have intrigued you? Are there any works that directly respond to the current state of affairs both here and abroad, and also have central themes emerged between them?
Fully Made Up – There are very few people that I would trust to do a good improvised solo cabaret show. Jenny is one of those people.
Send Nudes – These guys are young, enthusiastic and curiously cynical.
Yada Yada Yada – I am not a huge fan of 90s pop nostalgia, but Lauren Edwards and Jude Perl are cooking up something good, it’s going to be 90s and I’m going to like it.
Finding Felix – Soon to be another new face to the Melbourne scene (he’s still studying at some music theatre school in Perth)
Adulting – Tash York is always happy to turn a mirror to herself for a laugh, and it’s always relatable and enjoyable.
Raising Ell! – Definitely one of the quirky ones, and a good example of someone doing their own thing and giving no fucks.
Tragedy! A New Comedy – It’s Greek theatre meets pop culture in a one woman cabaret tackling the age old trope, narcissism.
You mention in your press release that these works are to a degree “untested” is this exciting/daunting, or a way to spring board emerging artist while providing the resources needed to  create, is  this kind of generosity a shrinking commodity for local creatives and if so, why?
It definitely sits on the exciting side for me, I love that I can pick up the phone and speak to an artist that I’ve never seen or met before and say ‘we’re going to let you use our venue and if you don’t sell any tickets, you don’t owe us any money’. I wouldn’t go so far as to call us a ‘spring board’, maybe ‘cabaret hoarders’ instead?
Finishing on a brighter note, what do you love most about the festival and this program, and what do  you think audiences will most appreciate taking away post performance?
At this stage I think I love it’s intimacy and it’s infancy, I remember when the Melbourne Cabaret Festival was at a similar stage, when only the most discerning of audiences would actually know there was a festival on and this wasn’t just another week at the Club.
Any last words?
I guess I should encourage people to see some shows.


Crazy Horse Paris Forever Crazy
Crazy Horse Paris Forever Crazy

Over the past 65 years, Crazy Horse Paris shows have drawn over 15 million patrons among them numerous celebrities over and over again, including, Elizabeth Taylor, President John F. Kennedy, Madonna, Christina Aguilera, Jean Paul Gaultier, Pedro Almodovar, Sting, Beyoncé, Rihanna… just to name a few.

Forever Crazy
Forever Crazy

Since its inception, Crazy Horse Paris has acquired an impeccable reputation for presenting women in an incomparable, sensual and sophisticated way. Its rich artistic legacy is recognized worldwide, especially among creators, artists and designers. Over the past years Crazy Horse Paris has collaborated with David Lynch, Miuccia Prada, Roberto Cavalli, Kylie Minogue and Ellen von Unwerth.

Crazy Horse Paris has been home to a long list of exceptional artists who have made guest performances with the troupe, including Dita Von Teese, Pamela Anderson, Carmen Electra, Arielle Dombasle, Clotilde Courau and Conchita Wurst.

Celebrating 65 years of naked couture and Parisian Glamour.

Media Note – please contact your local publicist for access to the Crazy Horse Paris Media
Dropbox that contains background information, images, footage, and more.

Australia: let’s go Crazy!


VENUE The Palms at Crown Melbourne
DATES Tuesday 8 August to Sunday 20 August CHRISTINA AGUILERA


VENUE Crown Theatre, Perth HUGH HEFNER
DATES Wednesday 6 September to Sunday 17 September


VENUE State Theatre, 49 Market Street, Sydney
DATES Wednesday 27 September to Sunday 1 October
TIMES Wednesday at 7.30pm
Thursday, Friday & Saturday at 7pm and 9.30pm
Sunday at 6pm and 9pm


VENUE The Canberra Theatre, Civic Square,
London Circuit, Canberra
DATES Wednesday 4 October to Saturday 7 October
TIMES Wednesday, Thursday, Friday at 7.30pm
Saturday at 7.30pm and 9.30pm

Anya Anastasia presents – ROGUE ROMATIC

Serenades from a Delinquent Diva Contemporary, bold, sparkling, sexy and packed with punchy humor this new work from Anya Anastasia follows on from her award winning hit Torte E Mort: Songs of Cake and Death.

Feisty, feminist, fierce, multi-award winning, internationally acclaimed cabaret femme fatale
Anya Anastasia has gone ROGUE!

Rogue Romantic is the follow up from Anya’s latest award winning show Torte e Mort: Songs
of Cake and Death that won awards, hearts and stars all over Australia.

The limited season of this new work will run from Wednesday March 29 to Sunday April 2 at
the beautiful Melba Spiegeltent, Collingwood.

Armed with a biting wit, fuelled by a lust for revenge and backed up by her new kick-ass full
band Anya’s Rogue Romantic is a seductive and exhilarating night of music, theatre and fun.
A night filled with electrifying twists, hilarious physical comedy, intense audience interaction and Roque should draw out a titter or two. Audiences will experience the thrill of this extravagant, glamorous and off-kilter diva right in their very laps (literally)!

Channelling Yma Sumac and Shirley Bassey, Anya’s vocals range from husky cabaret to operatic soprano, to the delight of cabaret, live music and theatre lovers.

Rogue Romantic follows hot on the heels of her smash hit 2016 Edinburgh Fringe season of ‘Torte e Mort: Songs of Cake and Death’ which also won The 2016 Adelaide Fringe Weekly Award for Best Cabaret.

Now we can bear witness to this multi-talented artist as she smashes the stage with a star-studded band and all new original songs.

Rogue Romantic is directed by Wes Snelling, with dramaturgy by Clare Bartholomew (Die Roten Punkte), and musical direction by Lucian McGuiness (Scotch and Soda, Company).
Don’t miss the performer critics and audiences alike are labelling “a major MAJOR talent” Stage Whispers.

Tickets are limited, so book now at

Event Details
Anya Anastasia presents

Serenades from a Delinquent Diva.
Melba Spiegeltent,
35 Johnston St, Collingwood

Dates: Wednesday 29 March to Sunday 2 April, 2017
Times: 8.00pm
Tickets: Adult – $30
Concession – $25
Parental guidance recommended (PG)

Video Content:



The Melba Spiegeltent – 19–21 January 2017
Metamorphis Theatre


Crossfade is an interactive and provocative exploration of gender, sexuality and identity. Bryan Smith, Lily Fish, Mis Fit, Jessaeme St James, Jessi Lewis, Timothy Treasure and Kiki Targe weave together an eclectic series of short performances with cross-dressing, brief BDSM, nudity and elaborate costumes to create this anti-structure, collaborative cabaret.

Exploring taboos and challenging norms, these performances briefly dip into various characters’ perspectives. A young schoolboy professes his desires to the devil, quietly proclaiming, “When I grow up, I want to be very, very rich, very, very famous, and very… very… sexually attractive…” From a comparatively cynical perspective, a young woman’s seductive striptease transitions into tawdry vulgarity, challenging the objectification and illusory glamour.

Crossfade demonstrates skilful use of space and interaction prior and throughout the performance. A cast member approaches seated guests before the show commences, false eyelashes fluttering while blowing a seductive, glitter-filled kiss. Challenging the barrier between audience and performer as much as it challenges the lines between gender roles, the cast engage with audience members throughout the performance. Pauses, lingering stares and unsettling smiles communicate wordlessly as they spread throughout the space, including walking through audience seats.

The performance toys with LGBTQI tropes, breathing new life into old clichés to deliver an emphatic, defiant ‘fuck you’ to gender and sexual identity norms. From big-haired, exaggeratedly feminine cross-dressing to the literal closet doors from which the actors enter and exit centre stage, subtlety takes a back seat.

Closing on a powerful and somewhat unsettling note with Leonard Cohen’s You Want It Darker, this multi-layered visual narrative is an intense experience. Crossfade makes a statement, and that statement is loud, proud and defiant.




The original inspiration came from a postcard I saw at the National Gallery of Victoria. It was a photograph of “Madame Bijou” taken in 1932 by the Hungarian photographer Gyulas Brassai. The NGV holds quite a few Brassai prints and this photo is one of them.

I was quite taken by the image, one of an old woman looking cheekily at the camera, heavily made-up, covered in pearls, with rings on every nicotine-stained finger. I thought I’d find out what I could about her, and make a show!
BIJOU was not a singer, but she had been a wealthy courtesan in her youth, and now in her later years was down-and-out, begging in the bars in Paris, telling fortunes and seamy stories in exchange for food and wine. No-one knew where she lived, but she frequented the bars every night. Brassai tried to find her again but she never went back to the Bar de la Lune where he had photographed her.
I had to make do with the little I could find out about her, and make the rest up, so the show is a ‘speculative biography’. Also, I wanted to create a cabaret-style show, so found songs from the period of her life, and they help to tell the story. Alan Hicks who is the pianist in BIJOU is a highly respected classical accompanist and vocal coach. BIJOU is his theatrical debut as Alain the bar pianist. The character of Alain reacts to Bijou throughout the show, offering her support, playing music that will cheer her up or get her going, and giving us a wonderful selection of French and German music, both instrumental and as accompaniment for the songs in the show. These include  ‘Parlez-Moi D’Amour’ by Jean Lenoir, ‘Mon Homme’ made popular by Piaf, ‘Ballad of Sexual Obsession’ by Brecht/Weill, ‘Je Te Veux’ by Satie, and the famous “Falling in Love Again’ by Hollander. Alan plays some amazing French classical music of the time (1870s to 1933), as background music. The audience are experiencing a stylish concert as well as a riveting story.
The show premiered in Canberra in 2013 to sold-out houses, and since then we have toured in country regions and have had several seasons in theatres in Sydney, Canberra and Melbourne (La Mama Courthouse Theatre in June this year).
Alan and I are excited about bringing BIJOU to the Butterfly Club and we are looking forward to sharing this extraordinary show with Melbourne audiences!
Written and Performed by Chrissie Shaw with Alan Hicks on piano
At the Butterfly Club from November 23 to November 27 at 7pm each night.

Going round the twist

Wes Snelling, undoubtedly one of Melbourne’s most awesome cabaret performers is back, and in fine form, bringing his larger than life, booze infused, neurotic and slightly terrifying character Tina Del Twist along for the ride.

Tina was the cherub and comrade to the likes of Judy Garland, Bette Davis, Marilyn Monroe… But she never quite made it to be a household name. Or did she? In Tina’s eyes, she did.  Known for her ‘beautiful voice and wicked sense of comic timing’ – The Age Melbourne. Loved by audiences and critics alike, this gin-soaked velvet draped madame has been described as the lovechild of Dame Edna and Amy Winehouse. TAGG spoke with the unlikely pair about Gold Class, which will be taking place at the Melbourne Fringe Festival hub, deep in the bowls of the beloved Arts House…

Introduce us to the work, what’s it called, and why?

Wes: It is Tina del Twist GOLD CLASS. It is a live cabaret concert like being at the cinema, but it’s live. It’s like being at home on the couch but this is in the privacy of your own fringe festival. There are VIP banana lounge seats available (which come with a complimentary wine) and Tina may throw some cheese at you at some point. Tina is a fabulous lush of a woman I produce. She is my Aunt, an alcoholic and a little deluded. I have her here with me now…

Tina: Hello darling, how are you?

Wes: so how would you describe the work Tina?

Tina: Well I sing lots of songs with my wonderful guitarist. I sing songs about.. oh how dull of me I don’t want to talk about the songs I am singing, it takes the fun out of it. Songs are there to be heard and lyrics interpreted via melody. Otherwise they would be poems, or chapters in a novel wouldn’t they, not songs. Come and see the concert and you’ll hear the songs. But they are of the blues and jazz vein. And I tell some jokes and stories you know.

Wes: Does that answer your question?

What drives you as a creative, is it the joy of performance, or the thrill of creating new work?

Wes: Well I will hand that one over to Tina…

Tina: Sorry what was the question? … Oh look, you know what, every time we are creating a new song or show or ‘work’ as you like to call it, I think god this is going to be a fun adventure, and then just before we start the process I have four panic attacks and think this is a bloody awful and anxiety ridden experience, why have I put myself in this position? Then I think it’s alright, once we get to the performance that is when the fun starts, it will all be ok, and then you get to the night of the performance and you are about to go on stage, you have four panic attacks and think this is a bloody awful and anxiety ridden experience, why have I put myself in this position? Then I think it’s alright, once we get to the end of the show and the applause arrives it will be worth it. Then you get to the end walk offstage and wonder if anyone actually liked it and you have four panic attacks and think this is a bloody awful and anxiety ridden experience, why have I put myself in this position? Then I think it’s alright, once we get paid you know, and then you realise the show was a fundraiser for a shed that needs to built somewhere in Nunawading to house a lawn mower, and so you go home and cry yourself to sleep. But to answer your question, what drives me as a creative is Gin.

Wes: What Tina is trying to say is that she really enjoys the entire process but most of all loves engaging with her audience.

What should audiences expect musically, and where drawn inspiration from when creating the work?

Tina: What should audiences expect musically? Songs darling.

Wes: Tina be nice. So, I know working with Tina on this there are quite a few original acoustic songs that are folky, bluesy, jazzy.

Tina: Let me talk Wes darling you sound like a dickhead. So there are quite a few original acoustic songs that are folky, bluesy, jazzy. The only time we choose to do a cover song is if we think we bring something new to it. There is no point just covering a song because you love the original, it has to also fit the context. Otherwise it’s karaoke. So we do songs by Led Zeppelin, Jefferson Airplane, songs that I grew up with and a lot of Australian work too but the lyrics have to make sense and be relevant to me. For example I wouldn’t do a song like Baa Baa Black Sheep because I am not a sheep, and I am not a fan of children so what’s the point? We do a song by that wonderful man Michael Hutchence, Devil Inside. I spent a lot of time with him back in the day. He taught me how to be sexual. But to answer your question, I draw inspiration from wine. And valium. At the same time.

Why do you think Tina Del Twist is still as popular, or perhaps notorious as ever?

Wes: I’ll take this one, Tina has just drifted off.

She is persistent! Ha! Tina is a talented alcoholic who once was a starlet but she is now living on the other side of that and is completely deluded that the stardom has ceased. There is an underlying darkness and tragedy to this that she doesn’t harp on about. In some ways everyone has or knows of an Aunt Tina. Not necessarily one that sings but certainly that Aunt who rocks up to xmas smashed and has no filter and takes you out the back for a joint. Her dementia often kicks in and she says whatever she likes. And that is why she is really fun, and why I think audiences can get a kick out of it as she often says things people are thinking but may not feel comfortable saying.

How do you see this performance as standing out from the rest of Melb Fringe this year?

Wes: I will start by saying it is not a competition. I think Melbourne has enough audiences to go and see shows. You still have to work hard to get people there. I think people do go and see more than one show. I would personally like to steer away from the idea that we stand out from each other because it creates a competitive culture, particularly in a fringe festival where I believe one of the main purposes is to nurture all artists involved.

Tina: Oh shut up Wes, this show stands out because it is the best.

What do you hope that audience will walk away with post show, and why?

Wes: I like people leaving a show and asking questions. Specifically, ‘why didn’t we book a banana lounge Gary?’

Tina: There can be a stress when creating a show that there has to be resolution at the end or that you have to leave the audience with one message to take away. I try not to focus on that. This particular show has a lot of light and shade in it and it is much like a mosaic puzzle, in a good way. Over the course of an hour you get presented with all these dots to join in the form of music and anecdotes, and you let them wash over you. Then when you leave all the dots make sense. This is my favorite kind of cabaret.

For more information and to book you tickets click here