So on May 3rd, in the darkened parlor of Richmond’s Studio X, Modern Burlesque Brigade promises to give you a good “Sex Education.” This one has
cooler music than the one your softball coach taught, however. In fact, Miniver Cheevy Jazz Trio bears no resemblance whatsoever to gym class film strips.
Spring has burst winter’s seams, bringing colorful buds and blooms. Emerging flowers play host to birds and bees, as our hormones frolic like pent-up
freshmen released on spring break. In this heady mélange, your thoughts might turn to romance. They may even design a bawdy fantasy or two.
So on May 3rd, in the darkened parlor of Richmond’s Studio X, Modern Burlesque Brigade promises to give you a good “Sex Education.” This one has
cooler music than the one your softball coach taught, however. In fact, Miniver Cheevy Jazz Trio bears no resemblance whatsoever to gym class film strips.
Featuring the talents of Director/Choreographer Becca Bernard, Fire and Stunt Designer Larry Volz, plus the seductive skills of a revolving cast of dancers,
“Sex Education” is the latest creation of Comedian/Playwright Slash Coleman. The “Condom Broke Dance” and other provocative scenarios are experiences
many adults have experienced, survived, and lived to rehash with their therapists.
cooler music than the one your softball coach taught, however. In fact, Miniver Cheevy Jazz Trio bears no resemblance whatsoever to gym class film strips.
Spring has burst winter’s seams, bringing colorful buds and blooms. Emerging flowers play host to birds and bees, as our hormones frolic like pent-up
freshmen released on spring break. In this heady mélange, your thoughts might turn to romance. They may even design a bawdy fantasy or two.
So on May 3rd, in the darkened parlor of Richmond’s Studio X, Modern Burlesque Brigade promises to give you a good “Sex Education.” This one has
cooler music than the one your softball coach taught, however. In fact, Miniver Cheevy Jazz Trio bears no resemblance whatsoever to gym class film strips.
Featuring the talents of Director/Choreographer Becca Bernard, Fire and Stunt Designer Larry Volz, plus the seductive skills of a revolving cast of dancers,
“Sex Education” is the latest creation of Comedian/Playwright Slash Coleman. The “Condom Broke Dance” and other provocative scenarios are experiences
many adults have experienced, survived, and lived to rehash with their therapists.
When It Comes to Sex Education, It Takes a Brigade
Brick Weekly
by Cesca Janece Waterfield
May 01, 2008
Spring has burst winter’s seams, bringing colorful buds and blooms. Emerging flowers play host to birds and bees, as our
hormones frolic like pent-up freshmen released on spring break. In this heady mélange, your thoughts might turn to romance.
They may even design a bawdy fantasy or two.
Brick Weekly
by Cesca Janece Waterfield
May 01, 2008
Spring has burst winter’s seams, bringing colorful buds and blooms. Emerging flowers play host to birds and bees, as our
hormones frolic like pent-up freshmen released on spring break. In this heady mélange, your thoughts might turn to romance.
They may even design a bawdy fantasy or two.
“It’s a satire about the outdated and conservative views on intimacy, relationships, and sex in our society,” Coleman summarizes. Combining traditional
vaudeville comedy, burlesque dance, and clown arts, “Sex Education” addresses the heart-palpitating and nervous encounters that delight and wrack
anyone who labors in love and lust. While Coleman frankly admits that political statements delivered as artistic expression often bore him, “Sex Education”
delivers a bit of political bite with its kiss of whimsy. In addition to traditional burlesque, the show features a drag king performer, a reverse strip tease, and a
dancer heavily decked out in 1800s garb who disrobes and disrobes, and – at press time, she still may be disrobing. “Sex Education” is a show designed to
stir laughter, provoke thought, and inspire comfortable personal confrontation. “Burlesque as opposed to other kinds of personal sex education, or even TV,
which is non-intimate, helps people come into a venue and confront some of their sexual issues. It’s an emotional interaction that’s happening in the
moment,” Coleman says.
Audiences already know Coleman for “Slash Coleman Has Big Matzo Balls,” “Bohemian Love Diaries,” and more. But he’s most widely associated with his
one-man show, “The Neon Man and Me,” which was recently filmed at local PBS studios for regional airing and with luck, national distribution. He honed
the show over years, as he traveled solo to perform it in schools, churches, and theatres nationwide. After a grueling but successful run through major and
moderate-sized cities, Coleman acknowledges half jokingly, “Burlesque was my attempt to not be lonely.” In 2007, he formed Modern Burlesque Brigade
with Bernard and Volz. Their first show, “Ballad of the Beautiful Sex Monster” debuted at Petersburg’s Sycamore Rouge Theater last New Year’s Eve.
While Coleman hasn’t made any wily negotiations on the proverbial director’s couch – none that he admits - he finds that burlesque allows him to
collaborate with other artists.
By using widely-known jazz standards and relying on a few core performers, he is able to use a changing cast for other roles and support, allowing
production flexibility and providing jobs for working artists. Creating opportunities for artists and educating them to cultivate their own are key goals for
Coleman, who emphasizes, “Andy Warhol said, ‘After making art comes the business of art.’ When I think about abundance and prosperity, I think it’s the
exact same energy that’s tied into creativity, money, and sex. I feel like if there’s an imbalance in one, there’s often an imbalance of another one. I think
what I’m looking for as an artist is to help inspire others is to find that balance. You can be creative and have money. I think most artists with money do really
good things with it. The more people I can bring onboard with my projects, the less people have to have day jobs.” It’s an innovative structure that
maximizes opportunity for others and outlets for Coleman’s feverish creativity.
Bombshells, wry humor, silly vixens, bawdy music, gender bending, and luscious laughs. It may be the sex education of your dreams, and it’s all yours.
vaudeville comedy, burlesque dance, and clown arts, “Sex Education” addresses the heart-palpitating and nervous encounters that delight and wrack
anyone who labors in love and lust. While Coleman frankly admits that political statements delivered as artistic expression often bore him, “Sex Education”
delivers a bit of political bite with its kiss of whimsy. In addition to traditional burlesque, the show features a drag king performer, a reverse strip tease, and a
dancer heavily decked out in 1800s garb who disrobes and disrobes, and – at press time, she still may be disrobing. “Sex Education” is a show designed to
stir laughter, provoke thought, and inspire comfortable personal confrontation. “Burlesque as opposed to other kinds of personal sex education, or even TV,
which is non-intimate, helps people come into a venue and confront some of their sexual issues. It’s an emotional interaction that’s happening in the
moment,” Coleman says.
Audiences already know Coleman for “Slash Coleman Has Big Matzo Balls,” “Bohemian Love Diaries,” and more. But he’s most widely associated with his
one-man show, “The Neon Man and Me,” which was recently filmed at local PBS studios for regional airing and with luck, national distribution. He honed
the show over years, as he traveled solo to perform it in schools, churches, and theatres nationwide. After a grueling but successful run through major and
moderate-sized cities, Coleman acknowledges half jokingly, “Burlesque was my attempt to not be lonely.” In 2007, he formed Modern Burlesque Brigade
with Bernard and Volz. Their first show, “Ballad of the Beautiful Sex Monster” debuted at Petersburg’s Sycamore Rouge Theater last New Year’s Eve.
While Coleman hasn’t made any wily negotiations on the proverbial director’s couch – none that he admits - he finds that burlesque allows him to
collaborate with other artists.
By using widely-known jazz standards and relying on a few core performers, he is able to use a changing cast for other roles and support, allowing
production flexibility and providing jobs for working artists. Creating opportunities for artists and educating them to cultivate their own are key goals for
Coleman, who emphasizes, “Andy Warhol said, ‘After making art comes the business of art.’ When I think about abundance and prosperity, I think it’s the
exact same energy that’s tied into creativity, money, and sex. I feel like if there’s an imbalance in one, there’s often an imbalance of another one. I think
what I’m looking for as an artist is to help inspire others is to find that balance. You can be creative and have money. I think most artists with money do really
good things with it. The more people I can bring onboard with my projects, the less people have to have day jobs.” It’s an innovative structure that
maximizes opportunity for others and outlets for Coleman’s feverish creativity.
Bombshells, wry humor, silly vixens, bawdy music, gender bending, and luscious laughs. It may be the sex education of your dreams, and it’s all yours.
Photo: Randi Gellis
| © Slash Coleman 2009 |
