reviewjournal.com
.....The 12 dancers are all young and symmetrical, noticeably missing the tan lines, breast implants, press-on nails or gum-chewing of standard lap dancers.
Their precision choreography is matched by intricate lighting that, in the words of founder Alain Bernardin's children, attempts to "reinvent the female form as modern art."
Nothing illustrates the difference music and light make more than the giant hoop number, which curiously turned up in the Riviera's "Crazy Girls" revue a few months ago.
"La Femme" uses obscure music (something called "Open") while "Crazy Girls" opts for Tomaso Albinoni's ubiquitous Adagio in G Minor. And "Crazy Girls" doesn't have the budget to bathe its spinning model in kaleidoscopic patterns to create a live version of James Bond movie credits.
Humor plays a major part in "La Femme" and deflates its pretentious leanings. Projected titles announce the beginning of each sequence, such as the opening "God Save Our Bareskin." This is the Crazy Horse's version of toy soldiers, with a changing of the guard courtesy of "The Rocky Horror Show," the dancers snapping to attention via Sofia Balma's fluid choreography.
Ensemble pieces alternate with individual numbers, and only a few attempt to be genuinely erotic. And what makes the sexy numbers a turn-on? Not the amount of skin shown, but the eye contact. |
