Bald & Boujee. Comedy duo Malik S. and Torrei Hart (Kevin Hart’s ex-wife) perform. Feb. 22-24, Baltimore Comedy Factory, 5625 O’Donnell St., (410) 547-7798, baltimorecomedy.com, $20-$40.

The Beanie Bros Tour. L.A. comics Pete Buchbauer and Chip Nicholson perform with support from local comedians including host Nikki Fuchs. Feb. 27, 7 p.m., The Crown, 1910 N. Charles St., (410) 625-4848, facebook.com/TheCrownBaltimore, $10.

BIG Time with Jen Marsh. Baltimore Improv Group performs a totally made up and unprepared tribute to Baltimore Beat’s associate publisher, Jen Marsh. Feb. 23, 8 p.m., The BIG Theater, 1727 N. Charles St., (888) 745-8393, bigimprov.org, $5.

Camp Adventure. Alexa Sciuto hosts a night of improv, stand-up, and sketch from Silversmith, Bad Karaoke Experience, and OLGA, followed by an improv karaoke jam. Feb. 23, 8 p.m., Charm City Comedy Project at Zissimos Bar, 1023 W. 36th St., charmcitycomedyproject.com, $5.

“Count Down.” As part of the 2018 Women’s Voices Theatre Festival, The Stand present Dominique Cieri’s interdisciplinary piece about girls growing up in the child welfare system. Through March 4, Strand Theatre, 5426 Harford Road, (443) 874-4917, strand-theater.org, $10-$25.

“The Death of Walt Disney.” The regional premiere of Lucas Hnath’s biographical play about the megalomaniacal mind of Walt Disney. Through Feb. 25, Single Carrot Theatre, 2600 N. Howard St., (443) 844-9253, singlecarrot.com, $25-$29.

Demetri Martin – The Awkward Tour. The stand-up comedian, writer, actor, and director performs. Feb. 23, 8 p.m., Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St., (410) 837-7400, baltimorehippodrome.com, $58.

“A Disappearing Act.” Single Shoe Productions presents a memorial tribute to the deceased fictional magician Philip Winterbottom. Feb. 22-25, Baltimore Theatre Project, 45 W. Preston St., (410) 752-8558, theatreproject.org, $15-$25.

“Everybody.” Theatre Morgan presents a modern riff on the 15th-century morality play following a character named Everybody (played by a different cast member each performance) as he or she travels down a road toward life’s greatest mystery. Feb. 22-24, Carl J. Murphy Fine Arts Center, 2201 Argonne Drive, (443) 885-4440, murphyfineartscenter.org, $5-$15.

Everything Will Be Okay (A stand-up comedy show) [#39]. Chris Hudson hosts a night of stand-up featuring Bryan Preston, Pete Musto, Sahib Singh, Michael Furr, and Natalie McGill. Feb. 22, 8 p.m., The Crown, 1910 N. Charles St., (410) 625-4848, facebook.com/TheCrownBaltimore, $5.

“I Hate Hamlet.” An actor who hates “Hamlet” takes on the title role and encounters the ghost of John Barrymore. Through March 4, Spotlighters Theatre, 817 St. Paul St., (410) 752-1225, spotlighters.org, $10-$22.

Katt Williams. The veteran comedy icon returns to Baltimore, having most recently co-starred in “Father Figures.” Feb. 23, 8 p.m., Royal Farms Arena, 201 W. Baltimore St., (410) 347-2020, royalfarmsarena.com, $55-$128.

“Long Day’s Journey Into Night.” Eugene O’Neill’s autobiographical drama spans one day in the life of a family troubled by addiction and the inability to let go of the past. Through March 4, Everyman Theatre, 315 W. Fayette St., (410) 752-2208, everymantheatre.org, $43-$65.

More Laughs: The Annual Big Fred Birthday Comedy Show. Baltimore native Fred “Big Fred” Watkins, best known as a member of “The Empire” on Oxygen TV’s “Last Squad Standing,” performs stand-up. Feb. 25, 8 p.m., Baltimore Soundstage, 124 Market Place, (410) 244-0057, baltimoresoundstage.com, $20-$35.

“The Pillowman.” A writer becomes the focus of a police interrogation when his macabre short stories are linked to a series of actual child murders. Feb. 23-March 18, Vagabond Players, 806 S. Broadway, (410) 563-9135, vagabondplayers.org, $10-$20.

“Red Velvet.” The biographical play from Lolita Chakrabarti tells the story of the 19th century African-American Shakespearean actor Ira Aldridge. Through Feb. 25, Chesapeake Shakespeare Company, 7 S. Calvert St., (410) 244-8570, chesapeakeshakespeare.com, $16-$43.

“Skeleton Crew.” In the third play in Dominique Morisseau’s Detroit trilogy, four workers at the city’s last exporting auto plant face down an uncertain future. Through March 4, Baltimore Center Stage, 700 N. Calvert St., (410) 332-0033, centerstage.org, $20-$79.

“Sweeney Todd: The Demon Barber of Fleet Street.” Baltimore Concert Opera presents a two-nights-only operatic production of Stephen Sondheim’s horror musical. Feb. 23, 7:30 p.m.; Feb. 25, 3 p.m.; Baltimore Concert Opera, 11 W. Mount Vernon Place, Suite 307, baltimoreconcertopera.com, $29.50-$71.50.

Talkin’ S%\T: A Roast Battle. A comedy tournament in three rounds to find the champion of being nasty, featuring “The Legend” Sonny Fuller, Mike Storck, Kim Ambrose, Leeland Clayton, “Sweet Sweet Baby Boy” Matt Brown, Ian Salyers, Rose Vineshank, and Ben Broedel. Feb. 25, 6 p.m., Magooby’s Joke House, 9603 Deereco Road, (410) 252-2727, magoobys.com, $10.

Totally ’80s, Totally Murder Interactive Dinner. The Murder Mystery Company in Baltimore presents an interactive, ‘80s-themed production alongside a three-course meal from Blue Agave. ‘80s concert attire encouraged. Feb. 21, 6-9 p.m., Blue Agave, 1032 Light St., (410) 576-3938, blue-agave.ticketleap.com/totally-80s-totally-murder-interactive-dinner, $60 or $115 for two people (includes show, meal, and pre-show cocktail).

The post Stage: Feb. 21-28 appeared first on Baltimore Beat.

American Soil: A Tribute to Blackness. Spoken word, dance, and live music celebrating Black History. Featuring Mari Andrea Travis, Christine Jenkins, The Concord Jazz Project, and more. Feb. 18, 3 p.m., Terra Cafe, 101 E. 25th St., (410) 777-5277, eventbrite.com/e/american-soil-a-tribute-to-black-history-tickets-42701890504?aff=efbeventtix, $8.

Badass Comedy. Adam Long hosts a night of improv, stand-up, and sketch from Bear Trap, Silversmith, and Becca Lundberg, followed by a bonus open improv jam. Feb. 17, 8 p.m., Charm City Comedy Project at Zissimos Bar, 1023 W. 36th St., charmcitycomedyproject.com, $5.

“Count Down.” As part of the 2018 Women’s Voices Theatre Festival, The Stand present Dominique Cieri’s interdisciplinary piece about girls growing up in the child welfare system. Feb. 15-March 4, Strand Theatre, 5426 Harford Road, (443) 874-4917, strand-theater.org, $10-$25.

Centurion – 100 Minutes Of Stand-Up Comedy. Josh Kuderna, Umar Khan, Ivan Martin, and Violet Grey perform. Ian Salyers hosts. Feb. 17, 9 p.m., Atomic Books, 3620 Falls Road, (410) 662-4444, atomicbooks.com, $5.

Champions of Magic. Five world-class magicians perform mind-reading and illusions in a large-scale, family-friendly production. Feb. 15-18, 7:30 p.m., Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St., (410) 837-7400, baltimorehippodrome.com, $51-$124.

Club 1727: An Open Musical-Improv Jam. Learn musical improv games and song formats. No experience necessary. Feb. 14, 7 p.m., The BIG Theater, 1727 N. Charles St., (888) 745-8393, bigimprov.org, free.

Commit to the Bit. Chicago’s Dylan Scott, Heather McLaren, and Tyler Ross stop in Baltimore on their Commit to the Bit comedy tour. Feb. 20, 8 p.m., Charm City Comedy Project at Zissimos Bar, 1023 W. 36th St., charmcitycomedyproject.com.

BROS & Arena Players Present: Constellations & Crossroads. The Baltimore Rock Opera Society and Arena Players team up for a double feature: “Determination of Azimuth” about NASA pioneer Katherine Johnson and “The Battle of Blue Apple Crossing” about bluesman Robert Johnson. Feb. 9–11 and 16–18, Arena Players, 801 McCulloh St., baltimorerockopera.org, arenaplayersinc.com, $20.

“The Death of Walt Disney.” The regional premiere of Lucas Hnath’s biographical play about the megalomaniacal mind of Walt Disney. Through Feb. 25, Single Carrot Theatre, 2600 N. Howard St., (443) 844-9253, singlecarrot.com, $25-$29.

Elegant Filth. Burlesque featuring MC Mindi Mimosa, Jacqueline Boxx, Tempete La Coeur, Lottie Ellington, Scarlet Starlet, Glam Gamz, Hell O’Kitty, Fiera Foxx, and Cherie Nuit. Feb. 17, 9 p.m., The Crown, 1910 N. Charles St., (410) 625-4848, eventbrite.com/e/elegant-filth-a-baltimore-burlesque-delicacy-tickets-42609327646, $12-$15.

Exploring the Artistry of the Male Dancer. All-male repertory dance company 10 Hairy Legs makes its Baltimore debut. Feb. 17, 8 p.m.; Feb. 18, 3 p.m.; Baltimore Theatre Project, 45 W. Preston St., (410) 752-8558, theatreproject.org, $15-$25.

F*CK Your Work Week. After School Grandman and two other improv troupes perform a workplace-themed show. Feb. 18, 7 p.m., The BIG Theater, 1727 N. Charles St., (888) 745-8393, bigimprov.org, $5.

Godfrey. The actor and comedian has appeared in the films “Zoolander,” “Soul Plane,” “Original Gangstas,” and more. Feb. 14, 16, and 17, Baltimore Comedy Factory, 5625 O’Donnell St., (410) 547-7798, baltimorecomedy.com, $22-$50.

“I Hate Hamlet.” An actor who hates “Hamlet” takes on the title role and encounters the ghost of John Barrymore. Through March 4, Spotlighters Theatre, 817 St. Paul St., (410) 752-1225, spotlighters.org, $10-$22.

Kyle Dunnigan. Dunnigan is best known as a writer, producer, and performer on “Inside Amy Schumer.” Feb. 15-17, Magooby’s Joke House, 9603 Deereco Road, (410) 252-2727, magoobys.com, $10.

“Long Day’s Journey Into Night.” Eugene O’Neill’s autobiographical drama spans one day in the life of a family troubled by addiction and the inability to let go of the past. Through March 4, Everyman Theatre, 315 W. Fayette St., (410) 752-2208, everymantheatre.org, $43-$65.

Mucking About. Ivana Greene hosts a night of improv and stand-up featuring Bandicoot, BEST PARTY EVER, Mulletproof, Cosmo, Elizabeth Fulton, and Seth Payne. Feb. 16, 8 p.m., Charm City Comedy Project at Zissimos Bar, 1023 W. 36th St., charmcitycomedyproject.com, $5.

“Red Velvet.” The biographical play from Lolita Chakrabarti tells the story of the 19th century African-American Shakespearean actor Ira Aldridge. Through Feb. 25, Chesapeake Shakespeare Company, 7 S. Calvert St., (410) 244-8570, chesapeakeshakespeare.com, $16-$43.

“Skeleton Crew.” In the third play in Dominique Morisseau’s Detroit trilogy, four workers at the city’s last exporting auto plant face down an uncertain future. Through March 4, Baltimore Center Stage, 700 N. Calvert St., (410) 332-0033, centerstage.org, $20-$79.

Sputniks Cabaret. Baltimore and D.C. artists participate in a night of slam poetry, comedy, music, sideshow, and burlesque. Feb. 14, 8:30 p.m., The Ottobar, 2549 N. Howard St., (410) 662-0069, theottobar.com, $8.

Steve Martin and Martin Short: An Evening You Will Forget For The Rest of Your Life. Two comedy legends hit the stage together for a night of stand-up, film clips, musical numbers, and conversations about their lives in show business along with performances from pianist Jeff Babko and bluegrass band Steep Canyon Rangers, with whom Steve Martin frequently performs. Feb. 16, 8 p.m., Lyric Opera House, 140 W. Mount Royal Ave., (410) 685-5086, modell-lyric.com.

Totally ’80s, Totally Murder Interactive Dinner. The Murder Mystery Company in Baltimore presents an interactive, ‘80s-themed production alongside a three-course meal from Blue Agave. ‘80s concert attire encouraged. Feb. 21, 6-9 p.m., Blue Agave, 1032 Light St., (410) 576-3938, blue-agave.ticketleap.com/totally-80s-totally-murder-interactive-dinner, $60 or $115 for two people (includes show, meal, and pre-show cocktail).

Umar Khan. The Baltimore comedian who has opened for the likes of Todd Barry, Hari Kondabolu, Hasan Minhaj, and Judah Friedlander makes his live recording debut. Feb. 18, 7:30 p.m., Creative Alliance, 3134 Eastern Ave., (410) 276-1651, creativealliance.org, sold out.

The post Stage: Feb. 14-21 appeared first on Baltimore Beat.

BROS & Arena Players Present: Constellations & Crossroads. The Baltimore Rock Opera Society and Arena Players team up for a double feature: “Determination of Azimuth” about NASA pioneer Katherine Johnson and “The Battle of Blue Apple Crossing” about bluesman Robert Johnson. Feb. 9–11 and 16–18, Arena Players, 801 McCulloh St., baltimorerockopera.org, arenaplayersinc.com, $20.

Chippendales. The all-male strip revue returns to Baltimore on its About Last Night Tour, just in time for Valentine’s. Feb. 7 and 8, 9 p.m., Baltimore Soundstage, 124 Market Place, (410) 244-0057, baltimoresoundstage.com, $35-$50.

Club Orbit. Improv, stand-up, and sketch followed by an all-comedy open mic. Feb. 9, 8 p.m., Charm City Comedy Project at Zissimos Bar, 1023 W. 36th St., charmcitycomedyproject.com, $5.

“The Death of Walt Disney.” The regional premiere of Lucas Hnath’s biographical play about the megalomaniacal mind of Walt Disney. Through Feb. 25, Single Carrot Theatre, 2600 N. Howard St., (443) 844-9253, singlecarrot.com, $25-$29.

Godfrey’s Valentine’s Day Special. The actor and comedian has appeared in the films “Zoolander,” “Soul Plane,” “Original Gangstas,” and more. Feb. 14, 8 p.m., Baltimore Comedy Factory, 5625 O’Donnell St., (410) 547-7798, baltimorecomedy.com, $25-$50.

“I Hate Hamlet.” An actor who hates “Hamlet” takes on the title role and encounters the ghost of John Barrymore. Feb. 9-March 4, Spotlighters Theatre, 817 St. Paul St., (410) 752-1225, spotlighters.org, $10-$22.

Jeff Dunham. “America’s favorite ventriloquist” stops in Baltimore on his Passively Aggressive Tour. Feb. 10, 5 p.m., Royal Farms Arena, 201 W. Baltimore St., (410) 347-2020, royalfarmsarena.com, $54.50.

“Long Day’s Journey Into Night.” Eugene O’Neill’s autobiographical drama spans one day in the life of a family troubled by addiction and the inability to let go of the past. Through March 4, Everyman Theatre, 315 W. Fayette St., (410) 752-2208, everymantheatre.org, $43-$65.

Mortified Baltimore: Doomed Valentines. Everyday adults read from their most cringe-worthy adolescent love letters, poems, locker notes, and diary entries. Feb. 10, 6 p.m. and 9 p.m., The Ideal Arts Space, 905 W. 36th St., (443) 529-5937, mortifiedbaltimore-feb2018.eventbrite.com, $17-$20.

My So Called ‘90s Comedy and Trivia. Seven comedians and seven rounds of trivia celebrating nostalgia. Feb. 8, 8 p.m., The Crown, 1910 N. Charles St., facebook.com/TheCrownBaltimore, free.

“Out of Darkness: Two Remain.” The Peabody Chamber Opera presents Jake Heggie’s 2016 opera with a libretto by Gene Scheer inspired by the true stories of two Holocaust survivors. Feb. 8-11, Baltimore Theatre Project, 45 W. Preston St., (410) 752-8558, theatreproject.org, $10-$25.

“Red Velvet.” The biographical play from Lolita Chakrabarti tells the story of the 19th century African-American Shakespearean actor Ira Aldridge. Through Feb. 25, Chesapeake Shakespeare Company, 7 S. Calvert St., (410) 244-8570, chesapeakeshakespeare.com, $16-$43.

The Second Saturday S#!t Show. John Conroy headlines Ottobar’s monthly stand-up show hosted by Mike Quindlen. Featuring Alexx Starr, Maria Sanchez, Carlos Garcia, Scott Seiss, Kim Ambrose, and Brock Snyder. Feb. 10, 7:30 p.m., The Ottobar, 2549 N. Howard St., (410) 662-0069, theottobar.com, free.

The Short Cutz Show: V-Day Edition. A short form oral storytelling slam and party jam starring professional African-American barbers. This month’s story theme is “A Love Supreme,” featuring celebrity storyteller Ladawn Black (from New York’s 107.5 FM WBLS). Feb. 12, 7 p.m., Motor House, 120 W. North Ave., (410) 637-8300, motorhousebaltimore.com, $10.

“Skeleton Crew.” In the third play in Dominique Morisseau’s Detroit trilogy, four workers at the city’s last exporting auto plant face down an uncertain future. Through March 4, Baltimore Center Stage, 700 N. Calvert St., (410) 332-0033, centerstage.org, $20-$79.

“The Sleeping Beauty.” The State Ballet Theatre of Russia performs the Grimm fairytale choreographed by famous choreographer Marius Petipa. Feb. 9 and 10, 7:30 p.m., Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St., (410) 837-7400, baltimorehippodrome.com, $61-$83.

Sputniks Cabaret. Baltimore and D.C. artists participate in a night of slam poetry, comedy, music, sideshow, and burlesque. Feb. 14, 8:30 p.m., The Ottobar, 2549 N. Howard St., (410) 662-0069, theottobar.com, $8.

Tassels & Champagne: Love By Any Other Name. Gilded Lily Burlesque brings an evening of classic burlesque and variety featuring Oca O’Leary, Maria Bella, Nona Narcisse, Mourna Handful, Ruby Spruce, Gigi Holliday, Sophia Sunday, and Valeria Voxx. Feb. 10, 7 p.m. and 10 p.m., Creative Alliance, 3134 Eastern Ave., (410) 276-1651, creativealliance.org, $22-$28 for single ticket, other ticket packages available.

When ___ Met ___ : An Improvised Romantic Comedy Starring You. Baltimore Improv Group stages a fully improvised Valentine’s Day rom-com with two leads played by audience volunteers. Feb. 10, 8 p.m., The BIG Theater, 1727 N. Charles St., (888) 745-8393, bigimprov.org, $6.27.

The post Stage: Feb. 7-14 appeared first on Baltimore Beat.

An Evening Of Music And Comedy With Creed Bratton

Jan. 25

Yes, that Creed Bratton. Once the guitarist of ‘60s sha-la-la hippie band The Grass Roots until he dropped his pants onstage and was asked to leave, Creed Bratton became better known as the Dunder Mifflin quality control guy with the same name on NBC’s “The Office.” Like all of the show’s supporting characters, Creed periodically broke Dunder Mifflin Scranton’s fluorescent light bubble with suggestions of life beyond the office’s suffocating walls, narrative offshoots that in part make “The Office” endlessly rewatchable to the point that Netflix will have a riot on their hands if they ever take it offline. Since Creed Bratton the character was loosely based on Creed Bratton IRL (“loosely” being the operative word here), this meant tangential sketches of a sketchy guy with a storied, drug-fueled past—a kleptomaniac, former cult leader and follower, fake ID provider, and probable serial killer with enough wisdom to fill a lengthy, hidden Word document. “You ever notice you can only ooze two things? Sexuality and pus.” 8:30 p.m., Baltimore Soundstage, 124 Market Place, (410) 244-0057, www.creedthoughts.gov.www\creedthoughts, check it out, $22-$24.20. (Maura Callahan)

BIG Mainstage. Baltimore Improv Group hosts two troupe performances every Friday and Saturday night. Jan. 26 and 27, 9 p.m., The BIG Theater, 1727 N. Charles St., (888) 745-8393, bigimprov.org.

Camp Adventure. Ian Salyers hosts a night of improv, stand-up, and sketch from Silversmith, Peach Pit, Toe Money Improv, and Lance Curran, plus a bonus improv jam. Jan. 26, 8 p.m., Charm City Comedy Project at Zissimos Bar, 1023 W. 36th St., charmcitycomedyproject.com, $5.

Everything Will Be Okay (a stand-up comedy show). Chris Hudson hosts a night of stand-up featuring Archie Jamieson, Garrett Hardy Harvest, Beth Haydon, Ahmed Vallejos, and Ivan Martin. Jan. 25, 8 p.m., The Crown, 1910 N. Charles St., (410) 625-4848, facebook.com/ewbocomedy, $5.

“Inherit the Wind.” Jerome Lawrence and Robert E. Lee’s courtroom drama chronicles the Scopes “monkey” trial. Through Feb. 4, Vagabond Players, 806 S. Broadway, (410) 563-9135, vagabondplayers.org, $10-$20.

Murdered Word III. Over 30 artists from Baltimore and beyond doing whatever they want: performance, musical sets, video, and interdisciplinary work all in one place. Jan. 27, 8 p.m.-4 a.m., E.M.P. Collective, 307 W. Baltimore St., empcollective.org, $10.

Shen Yun. The acclaimed classical Chinese dance spectacular features scenographic effects and all-original orchestral works. Jan. 26-28, Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St., (410) 837-7400, baltimorehippodrome.com, $91-$112

“Skeleton Crew.” In the third play in Dominique Morisseau’s Detroit trilogy, four workers at the city’s last exporting auto plant face down an uncertain future. Jan. 25-March 4, Baltimore Center Stage, 700 N. Calvert St., (410) 332-0033, centerstage.org, $20-$79.

The Smoking Lounge. Kathleen Williams hosts a night of improv, stand-up, and sketch from Trampus, Thighmeat, Moonbot, Siberia, and OLGA. Jan. 27, 8 p.m., Charm City Comedy Project at Zissimos Bar, 1023 W. 36th St., charmcitycomedyproject.com, $5.

“The Tempest.” The Baltimore Shakespeare Factory presents the bard’s shipwreck drama featuring an original score. Through Feb. 4, St. Mary’s Outreach Center, 3900 Roland Ave., baltimoreshakespearefactory.org, $19-$24.

TotaShiSho Episode One. A new game show from Feral Woman. Featured panelists for episode one are Jana Hunter, Rahne Alexander, Christine Ferrera, Mike Smith, Jordan Card, and Molly Margulies. Jan. 26, 8 p.m., The Mercury Theater, 1823 N. Charles St., facebook.com/FeralW0man.

“Trouble in Tahiti.” In Leonard Bernstein’s one-act opera, the troubled marriage of a young suburban couple presents a critique of post-war American materialism. Through Jan. 27, StillPointe Theatre, 1900 St. Paul St., stillpointetheatre.com, $25.

“Waitress.” Featuring original music and lyrics by Sara Bareilles, the musical based on the film by Adrienne Shelly tells the story of a waitress and expert pie maker who sets out to rebuild her life. Jan. 30-Feb. 4, Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St., (410) 837-7400, baltimorehippodrome.com, $42-$214.

The post Stage: Jan. 24-31 appeared first on Baltimore Beat.

As we sit sipping pre-show drinks at the bar downstairs at the Crown, in front of a stage decorated with some of the most depressing Christmas trees I’ve ever seen, Tommy Gunn somehow makes me feel like I’m in a Winter Wonderland. As creative director and stage manager for Bunns of Steele Productions, the burlesque company behind the recurring “Burl-eoke” shows at The Crown, Gunn’s enthusiasm is infectious. When I ask what makes Bunns of Steele different from other troupes, his answer is a jaunty: “Well, you’re not gonna see burlesque as goofy as this.”

If you don’t know what “Burl-eoke” is, don’t worry; it was practically invented by the company’s founders, Bunny Vicious and Twiggy Steele. The concept is a kicky blend of karaoke, burlesque, and improv. At the mid-December holiday edition of “Burl-eoke,” several (pre-selected) singers compete in the first round by performing prepared Christmas tunes to karaoke tracks, and one is eliminated by audience vote. In the second, the remaining singers are paired up at random with burlesque dancers to form teams. The dancers have no idea what they will be dancing to, the singers little more what they will sing. In the third round, the difficulty increases as Gunn, who also serves as MC, introduces “challenges” like eating popcorn as they perform, or a “backwards burlesque” where the dancer has to put their clothes on. In between rounds, company members give lap dances and sing silly songs.

The structure of the event helps keep the whole thing from going stale, sometimes a problem

with straightforward burlesque, which can feel like an endless string of pretty ladies biting their gloves and peeling their stockings. There’s also a refreshing diversity of performers involved; Gunn is quick to note that the company is a “body positive environment” and that does seem true, as there were lots of different body types on stage, all united by fluffy red marabou. Bunns of Steele also disrupts the focus on women’s bodies found in traditional burlesque: Gunn dances, as does Danny Carbo, a “boylesque” performer who does a sexy routine to “Rudolph the Red Nosed Reindeer,” no easy feat.

Song choices range between Lee Conderacci’s pop-punk snarl on Blink 182’s ‘I Won’t Be Home for Christmas’ to the sultry vocals of CynDiva Harcum’s take on ‘Merry Christmas Baby.’ And if you think that dancing to something like this would be cut rate, you’re dead wrong. Some of it is, true to Gunn’s word, goofy—I won’t soon forget the burlesque-styled Christmas tree in five-inch red heels—and some, like Tempete La Coeur’s on-the-spot improvisation to ‘Let it Snow,’ classic and elegant. And as someone who can barely put her clothes on in the morning without fucking it up, I’m impressed by the dancers’ ability to shed that last piece of clothing on the beat—burlesque is truly all about the timing of the pasties.

Despite a few technical difficulties, the evening holds together, and that is largely due to the company’s warmth and clear joy in what they do. There are as many enthusiastic hugs onstage as there are butt tassels, and so you can’t help but root for them. By the time Conderacci and Viscous are crowned the winning team, the entire audience is feeling it, interacting with the performers as Gunn encouraged us to do during the “Burlesque 101” info session at the top of the show.

As Bunny Vicious unbuckles the clasps on her green satin corset and Bitesize Aria spins in mounds of angelic tulle, both on stage for the show’s finale (a Mariah Carey-fueled dueling duet), the energy in the room surges. Audience participation is a must at a burlesque show, but right now, we don’t need to be told what to do. Amid claps and hollers, whistles and stomps, the singers throw themselves into the high notes as the dancers triumphantly twirl and flash to the music. If Gunn says anything important as he grabs the mic back, I don’t hear it. By that time, it’s all just part of the blissed-out blur.

Bunns of Steele produces multiple events a year, including several “Burl-eoke” nights at The Crown—look out for Valentine’s Day and 4/20 shows, among others, coming up in 2018. Go to sluttytimes.com to check out the company’s new weekly podcast, premiering on Dec. 21 at 11 p.m. For more information on Bunns of Steele, visit bosburlesque.com.

The post Bunns of Steele brings a festive karaoke-burlesque mashup to The Crown appeared first on Baltimore Beat.

A force in the Baltimore club community and in the dance world beyond, Tamika “Fatgirl” Raye died on Nov. 2 after succumbing to injuries from a car accident. TT The Artist, a widely recognized club MC and director of the upcoming documentary about Baltimore club music and dance titled “Dark City Beneath The Beat,” described Fatgirl as “a legend in the making.” We asked Errigh “Neek B’Chillin” LaBoo, the founder of Bmore Than Dance and a close friend to Fatgirl, to reflect on the dancer’s legacy. (Maura Callahan)

The definition of a queen: a goddess or woman who holds supremacy in a realm.

Imagine for a moment that the realm is Baltimore City. A city known for violence, drugs, and poverty. In this city and in every generation, we receive a special goddess sent to impact our lives in a way that affects the next generation to come.

The Queen in question here is none other than Tamika Raye aka Fatgirl. Since birth Fatgirl showed signs of her greatness, but it wasn’t until 2008 when the entire city became witness.

A popular dance competition hosted by Bmore Than Dance known as The Queen of Baltimore, a spin-off of the all-male dance competition King of Baltimore, annually crowned the best dancer for her talent. This year the audience was in for a major surprise.

Fatgirl came in as an underdog, but by the night’s end stole everyone’s heart with a crowd of over 1200 guest in attendance. She delivered a top-scoring performance and eliminated her competition flawlessly round for round. Her win was the beginning of the city taking notice of her special talent, but her actions moving forward established her legacy.

After her Queen of Baltimore victory, Fatgirl continued to dominate the dance scene, leading her dance group to win the We Run This City #WRTC dance competition hosted by Bmore Than Dance the same year. Winning came naturally to Fatgirl, but what was more important was how the youth took a liking to her immediately.

Fatgirl inspired so many children in the community to focus on staying out of trouble and using dance as an escape from the reality of living in Baltimore City. Her dance group, HCZ BBY, has been performing all over the world since its members were children. HCZ BBY has performed for the mayor and governor, and has graced the stage of the Apollo Theater.

Her talent was so phenomenal, international recording artists such as Rye Rye and TT The Artist began to take notice. The chemistry she shared with Rye Rye could be seen from the moment they began to work with each other. TT The Artist was in attendance when Fatgirl won Queen of Baltimore and immediately felt a desire to help her get noticed. She traveled the world on international tours, inspired a documentary on Baltimore club called “Dark City Beneath The Beat,” and raised two beautiful children in the process.

Fatgirl’s impact was much bigger than her personal accomplishments. She was a mother to a community in need. She inspired an entire generation of young women. She loved and nurtured her peers, giving many a place to call home in time of need. She connected with children on an emotional level that made everyone who came in contact with her fall in love.

She inspired the culture to once again thrive after losing one of its greatest queens, the legendary DJ K-Swift. After the passing of K-Swift, Baltimore’s club scene had no idea who would continue on the legacy. While many have made an impact, very few reach the iconic level of being “Queen” of the culture.

Fatgirl was formally was crowned in 2008, the year K-Swift died, but her reign continued from that day moving forward. Her dance spirit can be felt when you see so many of today’s youth join in the culture of Baltimore club. She was a mother, a nurturer, a leader, and a friend. She leaves an abundance of individuals who reached out to her for leadership and guidance.

Words can’t explain how much Fatgirl impacted everyone who saw her dance. The movement she created will impact generations to come. While many of us mourn her being called home so early, we still feel her presence, and we know she’s still here. Her legacy will live forever in the hearts of everyone in the Baltimore club and Bmore Than Dance community.

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