Big Laughs for Little Death Club

– Alexis Kittler

Friday night of January 20 marked the beginning of the Perth Fringe Festival for 2017.
I was witness to one of the first shows that Fringe 2017 had to offer attending the premiere of The Little Death Club, a “dangerously funny” and “most debauched” cabaret show, bought to you by Dead Man Label.

This was no ordinary cabaret; highlighting strip teases, conducting imaginative sexual acts on unsuspecting audience members and crossing lines of comment. The Little Death Club lived up to the expectations of Fringe by delivering endless surprises, shock culture and the mild nudity enthusiasts of Fringe have come to enjoy.

An intimate audience of a hundred-and-fifty, including myself, were escorted into the Circus Theatre where we met our host of the night, the “infamous Mistress of Mayhem”, Miss Bernadette ‘Bernie’ Byrne.

Bernie was interactive with viewers, taking a shine to a gentleman in a checkered shirt, who she nick-named Lumberjack. She entertained us with her performance of song and dance, her sexual innuendos and political commentary. The audience rang with laughter within moments of the show commencing.

The Little Death Club rotated four performers to amuse and allure the audience, which in my opinion gave the perfect insight to the variety Fringe World can offer.

We were first introduced to Miss Bettie Bombshell, a burlesque dancer from Melbourne. Her exotic and scandalous routine has landed her multiple awards from a variety of burlesque and dance competitions from around the world, which we were to witness. Miss Bombshell teased us with a slap-stick routine re-enacting the antics of a Charlie Chaplin film, with an erotic twist.

We were then presented with Fringe performer Josh Glanc, with his musical sketch incorporating creativity with pure stupidity. His passive-aggressive rap implying his ears were made of bread had us giggling, however Glanc’s song suggested we should’ve felt bad for laughing at a man with ears made of bread. Glanc continued his sketch with his phantom pregnancy sketch, whereby he presented his milk-induced breasts to one keen and presumably drunk member of the audience.

Third on The Little Death Club agenda was Kitten ‘n’ Lou, a mixture performance incorporating dance, burlesque and drag. Their routine was fast-paced and suggestive, representing the likes of a drunken night out with no recollection. Lou stripped down to nothing but a glittery man-kini, with Kitten baring all with a matching G-string and nipple tassels.

Finally, we were welcomed to the punk-rock world of Tomás Ford. His musical artistry incorporating synth, cabaret and a lot of shouting were amusing. Through singing and fighting with the microphone stand Ford singled out audience members, making awkward eye and physical contact, including one poor man whom Ford ran out of the theatre with. Ford eventually returned with the missing audience member before rolling off the stage and out the door.

The Little Death Club was an energetic and erotic illustration, one I believe offers a variety of performances and genres for anyone to enjoy. If you are confused or uncertain of what Fringe performance to see, I recommend The Little Death Club because of its insight into what the Fringe Festival offers and due to its sheer individual depiction of the macabre and the erotic.
Hilariously entertaining, The Little Death Club exceeded my expectations and will no doubt play in my mind for the weeks to come. I rate 4/5.

Image by DeadMan

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