Though originally built as a highbrow cultural center for Boston elite in the 1800s, by the 1920s the bustling neighborhood known as Scollay Square had become something of a mecca for artists, oddballs and thrillseekers. A doomsday cult moved into the Square, popular local comedians hosted raunchy variety shows, and purveyors of vaudeville and song entertained into the wee hours. There was a magic shop, dance studios, the Theatre Comique and the majestic Star Theatre. The Brattle Tavern stood next to the Scollay Grille, both featured food, drink and nightly entertainment. There was the locally famous hot dog emporium on Howard Street, Joe and Nemo's. Scollay Square was a happening, even through the Prohibition (1920 - 1933). And at its core, the Burlesque. Burlesque occupied a prominent place in the Boston night life, that is until 1961, when the sub-culture's epicenter, the legendary Old Howard Theatre, burned down under what one might call "mysterious circumstances."
City officials wasted no time sacrificing Scollay Square to the gods of progress. In a highly publicized move to squash the city's raunch factor, they essentially razed and paved over the whole damn thing. Today, in its place, we have Government Center. As if to emphasize the total opposite-ness of the neighborhood's new personality, they turned it into acres of blank, gray cement. The proper architectural name for those blocky and monolithic buildings is, at least, unapologetic. It's called brutalist, a brief phase in modern architecture with unfortunately eternal consequence, unless you're into that sort of thing.
Gone were the seedy taverns, the street people, the oddballs and thrillseekers, the smoky dens of what-have-you where undulating dancers in feathers and fishnets ruled the dark hours. The only memento left from that era is a small plaque on Congress Street that says "Remember Ol' Scollay Square." With its demise went the Boston Burlesque scene altogether.
Enter the Burlesque Revival Association (BRA), whose members intend to remember ol' Scollay Square by bringing back Burlesque. BRA was was formed in 2000 by Boston avant-everything artist Trista Beard and actress/dancer Sarah Lafferty, later joined by dancer Amy Harmon. These were respected denizens of Boston's edgy, fertile underground cabaret scene that brings music together with performance art of all kinds. If indie rock is already a subculture, this scene is a sub-subculture that includes art rock and cabaret performers like Rick Berlin, Kitty Heels (Leigh Calabrese), Leah Callahan, Amanda Palmer, Cynthia von Buhler and the Sob Sisters. BRA was a sassy troupe of gorgeous young women with superior showmanship that performed on various stages consistently for a few years, bringing sex and laughter together in order to truly capture the base and campy nature of classic Burlesque.
The founders of BRA have relocated and most of its members dispersed. But once planted, the seeds of Burlesque revival were destined to flourish, and now Boston is home to a growing number of dedicated Burlesque troupes. Boston Babydolls, Black Cat Burlesque and Thru the Keyhole Burlesque are three of the best-known acts, primarily because these three groups all perform on bills with popular rock bands in favorite area clubs, and therefore play to a wider audience.
So what is Burlesque, and how is it different from stripping? A loaded question, it turns out, and the answer is open to interpretation. For some performers, Burlesque and stripping are the same thing.
But for many of the Burlesque performers, there are crucial differences.
"It's about the intent," says Ol' Scratch, the Master of Ceremonies for the Boston Babydolls. "The intention of the stripper is to separate the audience from their money and to sell the illusion of sex. It's about arousal. Burlesque is primarily about entertainment. Modern Burlesque dancers don't get naked." Scratch, who boasts that he has the "best job in the world," explains that the original Burlesque from the late 1800s was actually comical, women dressing as men and making fun of things. "It was like fool's parade."
"Today we're so desensitized to nudity," says Mandy Ness of Thru the Keyhole. "Burlesque seems tame by today's standards, but back then that was racy." With Thru the Keyhole, you get nine statuesque beauties with creamy skin and expertly-sewn costumes who perform with the cohesion of the Rockettes. Though they stay true to old Burlesque themes, Thru the Keyhole makes sure they can perform an act suitable for mixed audiences. They're not getting naked for dollar bills. They perform, and do so at events like car shows. "You have to know your audience. You can't flash your pasties with five year olds around."
When asked about the Burlesque revival in Boston, Mandy can't say enough good things about her Thru the Keyhole partner Jessica Sciullo (who was part of the original Burlesque Revival Association) or Miss Firecracker, currently of Black Cat Burlesque, but Mandy also has seen a number of nightclub acts that aren't quite up to Thru the Keyhole standards. "Today a lot of the troupes that are popping up are using the word 'burlesque' without properly realizing what it is," Mandy explains. "I see things that are true to Burlesque fashion, and I see things I would never in a million years consider to be Burlesque. Let's just say there's a lack of quality control when it comes to using certain terminology."
Speaking of Miss Firecracker, her Black Cat Burlesque might be the wildest act of its kind around town. This squad, which includes illustrator Mister Reusch, blends elements of classic Burlesque with an aggressive dose of dark arts, the result being a sort of grimoire ritual set to music.
While these Burlesque acts are different in style and execution, each troupe shares in keeping the spirit of Ol' Scollay Square alive. They perform with a fierce desire to entertain their audience, bring smiles to faces, and they embrace a sincere devotion to the spirit of old Burlesque.
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