#revue dancer

[hauntedbystorytelling]

Sasha ~ Laura Devine in 'Wake up and Dream' at the London Pavilion, 24th April 1929 | src getty images

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#Sasha #dance pose #laura devine #revue dancer #Alexander Stewart #danseuse #Tänzerin #dance costume #tanzkostum #tanzpose #dancer #danzatrice #bailarina #portrait #Porträt #retrato #ritratto #portret #retrat #Bildnis #role portrait #Rollenporträt #Rollenfoto #sasha #shadow dance #cochran revue #1920s #wake up and dream

[spazoutloud]

This video appeared on my explore page on Instagram and I had to share it here in gif form.

#michael myers #pennywise #jason voorhees #ghostface #halloween #it #friday the 13th #scream #magic michael myers #slashers #slasher fucker #male revue #they were so smart to do this #i wouldn't care about seeing these dancers normally #but put the mask on and i'm interested #wish they had a bubba #not sure if that crowd would like a big belly boy #my gifs

[verticaljones]

#melanin #black art #black fitness #male pole dancer #pole dancer #pole dance #black men #poledancing #pole dancing #male pole fitness #locs #poledance #gogo boy #gogoboys #male revue #black male hair #black natural hair #doja cat #up and down

[the-golden-purple-box]

1958, Lido show at the Stardust Hotel, Las Vegas

#50s #vintage #showgirls #dancers #stardust las vegas #revue

[mankoen]

lost the credits

#burlesque #pantyhose #high heels #mankoen #showgirls #flamingo #dancefloor #dancers #revue girls

[fancyhdraws]

Inspired by that time singer, dancer, actress and black cultural icon Josephine Baker was sailing across the Atlantic on the SS Normandie to take part in the Ziegfeld Follies Broadway musical revue. She heard her equally famous friend, Billie Burke, was on the ship as well, who was not only Ziegfeld’s widow but also a popular actress - you'd probably know her as Glinda the Good Witch in The Wizard of Oz. Josephine invited her to dinner and Billie was said to have agreed.

Josephine entered the first-class dining room in a gown by Erté, causing the room to burst into a standing ovation. Billie arrived shortly after, her entrance gaining an even warmer reception than that of Josephine's. But when she approached Josephine's table, Billie gave her nothing more than a look of distaste and coldly passed her by. But Josephine appeared unbothered and finished her dinner alone. Afterwards, she climbed the grand staircase and caused the audience to once again erupt into another standing ovation as she flashed them a dazzling smile, allegedly saying, “I assume she belongs to the black-hating race.”

| Instagram |

#artists on tumblr #my art #procreate #illustration #digital art #josephine baker #billie burke #glinda the good witch #drama #history #art deco

[hotvintagepoll]

Propaganda

Josephine Baker (The Siren of the Tropics, ZouZou)— Josephine Baker was an American born actress, singer, and utter icon of the period, creating the 1920s banana skirt look. She was the first black woman to star in a major motion film. She fought in the French resistance in WWII, given a Legion of Honour, as well as refusing to perform in segregated theatres in the US. She was bisexual, a fighter, and overall an absolutely incredible woman as well as being extremely attractive.

Olga Baclanova (The Man Who Laughs, Freaks, The Docks of New York)—no propaganda submitted

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut. The famous banana skirt is mildly NSFW and may make some people uncomfortable, but is included here for its historical significance.]

Josephine Baker:

Black, American-born, French dancer and singer. Phenomenal sensation, took music-halls by storm. Famous in the silent film era.

Let's talk La Revue Negre, Shuffle Along. The iconique banana outfit? But also getting a Croix de Guerre and full military honors at burial in Paris due to working with the Resistance.

She exuded sex, was a beautiful dancer, vivacious, and her silliness and humor added to her attractiveness. She looked just as good in drag too.

So I know she was more famous for other stuff than movies and her movies weren’t Hollywood but my first exposure to her was in her films so I’ve always thought of her as a film actress first and foremost. Also she was the first black woman to star in a major motion picture so I think that warrants an entry

Iconic! Just look up anything about her life. She was a fascinating woman.

Olga Baclanova:

#olga baclanova #josephine baker #hotvintagepoll #ladies 1 #fuck that old woman

[shewhoworshipscarlin]

Olga (Ollie) Burgoyne

Olga “Ollie” Burgoyne, also known as Ollie Burgoyne-Calloway, was a singer and dancer specializing in Russian and other ethnic dances. She was also an actress and businesswoman who gained popularity during the Harlem Renaissance and left her mark as one of the most influential African American dancers and choreographers of that time.

Ollie Burgoyne was born in Chicago, Illinois, on June 13, 1879. She was part Russian and part Creole. Ollie’s cousin, Ida Forsain, toured Russia and specialized in Cossack dancing. Influenced by Forsain, Burgoyne debuted at age 17 in John Isham’s Oriental America nightclub in Chicago in 1896. In 1901, at age 22, she embarked on an eight-year tour of Europe (Germany, France, Denmark, Switzerland, Hungary, and Russia) with seven singing and dancing girls known as the Louisiana Amazon Guards.

In 1903, Burgoyne briefly returned to the United States and joined the cast of the operetta In Dahomey, which was the first African American musical to be performed on Broadway. After her performance, Burgoyne formed Duo Eclatant with partner Asher Watts. She also founded the Burgoyne Musical Company.

During her years in Russia (1904-1914), Burgoyne performed in many prestigious venues, including the Krestovskiy Garden Amusement Park (St. Petersburg) and the Aumont Theater (Moscow). She also made side trips to Odessa in what is now Ukraine, Athens, Greece, Istanbul, Turkey, and Cairo, Egypt. She opened the Maison Creole lingerie store in downtown St. Petersburg (Russia), where she employed a staff of 27. In August 1914, while Burgoyne was vacationing in Marienbad, Austria, World War I broke out, and she was unable to return to Russia and thus lost her businesses and properties there.

Between 1914 and 1929, Burgoyne continued to tour mainly in western Europe. Her specialties were Brazilian, Spanish, and Russian dances, which she mastered while traveling. She briefly returned to the United States during this period, where she performed in New York City, Chicago nightclubs, and Harlem’s Lafayette Theater. In 1925, Burgoyne produced two dance revues, Darktown Strutters, and Harlem Strutters, in New York. She also appeared in ten Broadway productions between 1926 and 1937.

In 1931, Ollie Burgoyne was named one of the eight major dancers and choreographers of the Harlem Renaissance, part of an elite group that also included Hemsley Winfield, Edna Guy, Randolph Sawyer, Asadata Dafora, Katherine Dunham, Charles Williams, and Pearl Primus. In April 1936, when Burgoyne was 57 years old, she appeared in the play Mississippi Rainbow, performed at the Lafayette Theater. In the later years of her life, Burgoyne taught dance and worked periodically in the film industry, starring in movies such as Laughing (1930) and The Timid Ghost (1937). With a career spanning nearly 50 years, Ollie Burgoyne died on April 2, 1974, in Oxnard, California, at the age of 95.

#historical #actress #black history month

[vintagelasvegas]

Profile of a dancer in Las Vegas, 1957 - photos by Hy Peskin.

Catharine “Kitty” Dolan joined the Tropicana Revue (‘57-58) after a season performing with Lou Waters’ Latin Quarter in New York. Another Peskin photo has Dolan with an Edsel in front of the Tropicana. The photographer was in Las Vegas covering Minksy Goes to Paris for Playboy Magazine, but the story behind this series is unknown.

Copies of Cosmopolitan 9/57 and Ladies Home Journal 9/57 on the table.

#1957 #Hy Peskin #Tropicana

[oeldeservesthenorris]

The NHL trying to ban Pride tape and then dressing up the Calgary Flames like exotic male dancers at a Vegas revue for the Heritage Classic is the most NHL ever.

#nhl #nhl hockey #nhl players #calgary flames #heritageclassic #nhl2023 2024

[yuzukahibiscus]

Jewels of Takarazuka – Yuzuka Rei-san [Flower Troupe] (from Fujingaho May Issue)

This series documents the words of Takarazuka Top Stars, and their strength of living in the current age and Yuzuka Rei of Flower Troupe appears on this month’s issue.  Like a king that shines ever brightly on stage, Yuzuka-san appears on the photoshoot scene and we compliment her for having a flawless beauty like a deer in the wild. Then when she’s standing in front of the camera now, it seems like some kind of story is about to begin… Yuzuka-san speaks with carefully woven words and with a soft voice, talks about what she is thinking now.

Even if the acting is decided already every day, I just love presenting a new vibe to it

The one we admire in Shoujo Manga, the piano magician with fervent fans, the Broadway Star Dancer. With her gorgeous visual and delicate acting, Yuzuka-san brings such beautiful characters you couldn’t see in reality to life. If you watch her stage performances, you’d see that the world of dreams is here now……That’s what I firmly believe. When we interviewed Yuzuka-san, she was challenging to perform the famous work in Takarazuka Revue, the renowned musical of “MAYERLING”. It is about the tragic love story between Austria Crown Prince Rudolf and his lover Mary Vetsera. Yuzuka-san used to express it uniquely, “I don’t want [my performance] to look like it was cultivated artificially but to deliver one that is naturally moving”, so how did she feel when she was working on this famous musical?

“I’ve said that, haven’t I (LOL). I really like fresh air. So in the world that I’m portraying, even though we’d be doing the same things every day… That’s quite the opposite of what I said [about natural acting] (LOL). But even if we’re doing the same things every day, those first encounters and experiences are different every time. In contrast, even though it may be the first time I’m seeing some audience, I can feel that they’re the important people who’ve always known me… Performers and the audience can create some feelings and reactions together that not even we can imagine, and that’s something that I always find enjoyable. The premiere of this performance was 40 years ago. Even though there’s a little change in direction, the prologue song and the choreography was similar to how it was back then. I’d act according to what I understand from the whole setup of the musical. I won’t think about what I think is correct, instead I’ll continue to question my interpretation and delve into it more to act while thinking about it.”

In this musical with such intensity, you’d have to build up so much strength for the ending…

“Amidst the intensity and while continuing to maintain focused, there’s a unique kind of energy in musicals, surprisingly I’m not too overwhelmed by that. But while that builds up and accumulates densely, I think it’s difficult to overcome the “gap” or that “space” when [the tension] couldn’t build up well. Or maybe I should say, that it feels like those Jenga building blocks…… But the concentration the audience have for this musical is higher than before, so I felt that they also helped us create this ambience for us together.”

I want to walk a path that won’t feel like I’m betraying myself

This is perhaps the charm that’s only unique in live performances.

But in these 3 years, the previous situation was still unstable and as a leader she led the troupe to overcome very tough circumstances.

“I really thought that while I’ve been learning, I’ve already walked this far. Even in the same scenarios, I’ve come to learn that depending on people’s circumstances, there would be different feelings and the way we approach things also change. I know that it’s not good to just evaluate things while thinking only of ourselves. If everything was successful, I think it might be difficult to have the experience where everyone aims at “facing wholeheartedly towards stage performances” together…… so I thought I acquired a lot [during this time.] Whatever something happens, I want to be the person that people can trust in. Even if I covered it up, only I would know how I have dealt with that problem. Sometimes I may not know if I’ve made a wrong decision, and I won’t even know if that would be the best decision for that time, yet there must be something that I could learn from in failure. That’s why, I’ve decided not to do things that would make me lose confidence in myself. I often say be confident in yourself, but it’s difficult to believe in yourself without evidence. “Trust” might be a slightly different word, but I don’t try to deceive myself, instead I worked hard for it desperately… I wish I could feel that way without any hesitation,  and I would want to say that my underclassmen self when I was still trying to find that confidence.”

That delicate and soft feeling may be different from what she said a few years ago about “wanting to face my weaknesses earnestly”. 

“When we act, we think about humans, but it’s difficult to comment on whether they’re strong and weak. If they’re “weak”, they may seem negative at first glance, but they also may be someone that has great observation, a profound imagination,  and that they sincerely care only for a particular something. So “strengths” and “weaknesses” are two sides of a coin. If one believes too much that “I am strong”, that may instead lead to this pushing force that overwhelms oneself. So I’d say, it’s fine to be weak. Because humans are not born to be perfect. Rest a little, recover yourself, find your strategy to face your next task. When you find that strategy, if someone else has troubles, you could then help them. When I was playing as Rudolf, I really felt how greatly people impact others. That’s probably why I have such thought.”

Embracing her internal weaknesses with that resilient strength bestows her with the persuasion capacity on stage. Perhaps the Flower Troupe stage performances she lead will continue to shine radiantly.

MY JEWEL ~The jewel of the heart~

This is a photo of my nephew and my dog. “Even though they don’t always meet, but when they do, they’d always take a walk. My dog loves my nephew and is always smiling. My nephew leads the dog carefully like an adult when they walk together and I can slowly feel his growth. Now as I’m playing as Rudolf, I’d have to say, “Because of everyone’s great love, I have also progressed and grown.”

ON STAGE...

“ENCHANTEMENT –A Luxurious Perfume–” is a stylish  revue with perfume as the theme. This is a Takarazuka-styled revue wound in the gorgeous world of black tailcoats, silk hat and cane. Apart from singing and dancing, you could see her sometimes chic and sometimes sexy, that you couldn’t miss her out in any instant.

Next stage: Musical Romance “A Battlefield for the Two of Us” (Author/Director: Masatsuka Haruhiko)

In a stage of a fictitious federation formed by numerous autonomous states, this is about a young military officer with burning passions and how he struggles between the gap of the country and the individual, portraying his story of an “unacceptable” love and great friendship. Yuzuka-san says, “It’s very interesting learning from the rehearsal of Masatsuka (Hirohiko)-sensei’s musical. “War” is still sometimes that is relevant to us in this age, so I will cherish the importance of performing this production and do my best to create this production.”

#yuzuka rei #flower troupe #hanagumi #takarazuka #takarazuka revue #hibiscustranslation #hibiscus translates jewels of takarazuka #fujingaho

[hauntedbystorytelling]

Soichi Sunami :: Ethel Sager, Garden of Dreams, circa 1925. Laurence Miller Gallery

Ethel Sager was a professional dancer in New York City in the 1920s and 30s. Sager made her biggest splash in a Broadway production of George White's Scandals in 1925. This picture is unique within Sunami's oeuvre for its incorporation of the swirling decorative painting in the background and elegantly curving vine. There is a charming neo-classical mood to the scene that resembles Maxfield Parrish's paintings.

#pictorialism #1920s #soichi sunami #dancer #ethel sager #garden of dreams #revue dancer #danseuse #tanzerin #danzatrice #pictorialisme #piktorialismus #pictorialismo

[firespirited]

I can't believe I'm the one to have to say this as I'm not keen on cabaret culture but Le Crazy Horse is not some random gentleman's club or nudie bar, but a prestigious Cirque du Soleil style dance troupe. The dancers are prima ballerina-like athletes who happen to perform near nude. We're talking a-cups and a full 8 pack of abs to even get an audition. It's considered an honour to perform there, quite a few cross over from ballet.

I happen to believe that strippers and exotic dancers are skilled performers who do a physically taxing and emotionally intelligent job so I consider some of the Atlanta strip clubs on the same professional level as a Vegas revue.

But seeing the parisian Crazy Horse described as similar to the red light district Amsterdam Bananenbar feels iffy given the cultural cachet given to getting to perform there as a musician, magician or dancer. It's regularly sponsored by Louboutin and very expensive lingerie brands. I don't mean to insult the Bananenbar ladies either because woof that must take quite some skill but it's not going on bold on your dancers résumé in the same way.

Inviting people to Bananenbar is a bachelorette party/hen night kind of vibe, inviting someone to Le Crazy Horse is considered classy and fancy, especially if you're into dance. I imagine Bananenbar ladies make more in tips but Crazy Horse ladies (it is not a well paid gig at 30k a year) get to cash in on prestige for future jobs.

#saf #Lizzo #Le Crazy Horse #Burlesque #Cabaret #French culture #Beyoncé's partition was filmed there following an existing choreography

[the-golden-purple-box]

1957, Backstage Tropicana Revue, photographed by Elliott Erwitt

#50s #showgirls #dancers #vintage #vintage photography #revue #las vegas show

[justforbooks]

In the childhood memories of more than one generation, Glynis Johns, who has died aged 100, will be best remembered as the Edwardian materfamilias of the hugely popular Walt Disney musical Mary Poppins (1964). Winifred Banks, married to David Tomlinson’s George W Banks, is the mother of Jane and Michael, the children in the care of the magical nanny played by Julie Andrews. A protester for the right to vote, Winifred delivers a spirited rendition of the song Sister Suffragette – “Our daughters’ daughters will adore us. And they’ll sing in grateful chorus: ‘Well done, Sister Suffragette!’” – as the children’s previous nanny tries to quit.

But the husky-voiced actor had other claims to fame from her more than 60 films and 30 stage productions. In 1973, Stephen Sondheim composed the song Send in the Clowns for Johns when she was cast in the leading role of the premiere production of his musical A Little Night Music, on Broadway. And she had won initial stardom in the British cinema as a mermaid.

In the title role of the film comedy Miranda (1948), she travels from Cornwall to London and causes romantic complications among the Chelsea set. Although the film’s whimsy may now seem strained, it was a great commercial success in its day, making Johns a top-liner in British movies. Miranda returned in a rather belated sequel, Mad About Men (1954).

By that time, Johns had moved almost completely from stage to films, where she was associated chiefly with lightweight roles, alternately fluffy and feisty. One of her most appealing opportunities came in the thriller State Secret (1950, released as The Great Manhunt in the US), playing a cabaret artiste in a fictitious Balkan country, and gamely singing Paper Doll in a wholly invented language.

It says something for her properties of youthfulness that at the age of 30 she could play a teenage schoolgirl in the melodrama Personal Affair (1953). The same year she played in two fanciful Walt Disney British productions, as Mary Tudor in The Sword and the Rose, and as the heroine wife of Rob Roy, and she went on to make her first Hollywood picture, the Danny Kaye comedy The Court Jester, in 1955. The following year she played a cameo role in the star-studded Around the World in 80 Days.

At the time Johns alternated between American and British films, generally in subordinate roles, but a rewarding one came in The Sundowners (1960), set in Australia, as a jolly barmaid who takes a shine to a visiting Englishman played by Peter Ustinov. It brought her an Oscar nomination as best supporting actress. Top billing came in a stylish horror movie, The Cabinet of Caligari (1962). She was well enough known to American audiences by this time to star in 1963 in Glynis, a TV sitcom series that ran for just one season.

In 1966 Johns returned to the London stage in The King’s Mare, as Anne of Cleves to Keith Michell’s Henry VIII. Her Welsh heritage came into play when she took the role of Myfanwy Price in a screen version of Dylan Thomas’s Under Milk Wood (1971) starring Richard Burton, Elizabeth Taylor and Peter O’Toole, and two years later came her great Broadway success as Desiree Armfeldt in A Little Night Music, which brought her a Tony award.

Glynis came from a show business background: her mother, Alice Steele (nee Wareham), was a concert pianist who performed under the name Alys Steele-Payne, and her father was the prolific character actor Mervyn Johns. He was a stalwart in particular of Ealing Studios films: father and daughter appeared together in an Ealing drama, The Halfway House (1944).

Though her vocal intonations pointed to her Welshness, Glynis was born in Pretoria, South Africa, where her parents were on tour. She was reportedly carried on to the stage at the age of three weeks, and it was not too much longer before she was appearing there in a professional capacity, making her performing debut at the Garrick theatre, London, as a dancer in a revue called Buckie’s Bears (1935).

Educated at Clifton high school, Bristol, and South Hampstead high school and the Cone School of Dancing in London, she rapidly graduated to juvenile acting roles in both theatre and cinema. Her first screen appearance came at the age of 14, as politician Ralph Richardson’s troublesome daughter in South Riding (1938), and on stage she was the young sister, another Miranda, in Esther McCracken’s comedies Quiet Wedding (1938) and Quiet Weekend (1941).

That year brought the opportunity to appear in the film 49th Parallel, starring Leslie Howard and Laurence Olivier in a spy thriller intended to bolster second world war support in the US. When the prospect of playing a mermaid came after the war, she was able to draw on her theatrical versatility: “I was quite an athlete, my muscles were strong from dancing, so the tail was just fine. I swam like a porpoise.”

Johns returned to the London stage in 1977, as Terence Rattigan’s choice to play the murderer Alma Rattenbury in his well-received dramatisation of the Rattenbury case, Cause Célèbre. Her acting appearances became sporadic, though in 1989 she starred with Rex Harrison and Stewart Granger on Broadway in Somerset Maugham’s The Circle.

She was occasionally a guest star in US television series such as Murder She Wrote and The Love Boat, and played Diane’s rich mother, Helen Chambers, in the first series of Cheers (1983) and Trudie Pepper in the sitcom Coming of Age (1988-89). By the time of her final films, While You Were Sleeping (1995) and Superstar (1999), she was a characterful grandmother.

Johns was married and divorced four times. Her first husband, from 1942 to 1948, was the actor Anthony Forwood. Their son, Gareth, also an actor, died in 2007. Marriages to two businessmen followed: David Foster, from 1952 to 1956, and Cecil Henderson, from 1960 to 1962. She was married to Elliott Arnold, a novelist, from 1964 to 1973, and is survived by a grandson and three great-grandchildren.

🔔 Glynis Margaret Payne Johns, actor, born 5 October 1923; died 4 January 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #glynis johns #in memoriam

[hotvintagepoll]

Propaganda

Josephine Baker (The Siren of the Tropics, ZouZou)— Josephine Baker was an American born actress, singer, and utter icon of the period, creating the 1920s banana skirt look. She was the first black woman to star in a major motion film. She fought in the French resistance in WWII, given a Legion of Honour, as well as refusing to perform in segregated theatres in the US. She was bisexual, a fighter, and overall an absolutely incredible woman as well as being extremely attractive.

Jean Hagen (The Asphalt Jungle, Singin' in the Rain)—a shimmering star in the cinema firmament! Absolutely iconic as the villainess Lina in singin’ in the rain and makes the picture, to be honest. Nobody played funny-evil-gorgeous the way she does. and that voice!

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut. The famous banana skirt is mildly NSFW.]

Josephine Baker:

Black, American-born, French dancer and singer. Phenomenal sensation, took music-halls by storm. Famous in the silent film era.

Let's talk La Revue Negre, Shuffle Along. The iconique banana outfit? But also getting a Croix de Guerre and full military honors at burial in Paris due to working with the Resistance.

She exuded sex, was a beautiful dancer, vivacious, and her silliness and humor added to her attractiveness. She looked just as good in drag too.

So I know she was more famous for other stuff than movies and her movies weren’t Hollywood but my first exposure to her was in her films so I’ve always thought of her as a film actress first and foremost. Also she was the first black woman to star in a major motion picture so I think that warrants an entry

Iconic! Just look up anything about her life. She was a fascinating woman.

Jean Hagen:

Riddle and you shall receive! How could we forget about Jean Hagen! I love a woman who can play really delightfully evil, and it's very fun seeing her other roles after you've seen her as Lina Lamont. Also, she's got an adorable smile and a gorgeous chin.

Her Oscar-nominated performance as Lina Lamont is a wonderful example of being talented enough to make an unsympathetic character difficult to hate. Admittedly her looks also help a lot - in so many films she would have been the romantic lead and it's a shame Lina didn't get a redemption arc.

Had a sexy sexy alto register so when she was being dubbed as Lina Lamont by Debbie Reynolds she was dubbing Debbie Reynolds dubbing her. Shoutout to Betty Noyes also.

Linked gifset

did. is anyone. can we please bring attention to her in drag. please god and thank you

If we bring a little joy into your humdrum lives, it makes us feel as though our hard work ain't been in vain for nothin!

#jean hagen #josephine baker #hotvintagepoll #fuck that old woman #ladies 3