 The Last Showgirl
Streaming Veteran Vegas dancer Shelly, in increasingly threadbare garters, wilting feathered headdress and frayed silk wings, radiates a thousand-watt smile as she gears up for one exhausting last lap of the showbiz track. The camera is soft, vaseline-smeared around the edges, framing unsaturated hues of faded glamor. Her job, her life, is performing in ‘The Razzle Dazzle’, a creaking fixture at a resort in transition. Even the name feels out of time. The implied missing word, ‘old’ (as in, “Give ‘em the old razzle dazzle”), hangs limply in the air, like a deflating disco ball. Pamela Anderson stars as the aging optimist, juggling past mistakes with a blinkered positive attitude that gets bolted on every day as she repairs her weathered costumery. The Razzle Dazzle is coming to an end, being replaced by bawdy circuses with ever more lurid acrobatics. 18 punters a night cannot sustain this ungainly throwback - “We were like rockstars, a spectacle!” says Shelly, defending its legacy. But, like the song says, that was thirty years ago, when they used to have a show. It’s a firecracker of a performance by Anderson, the parallels to the injustices and seedy manipulations of her own career presumably weighing on her mind in every take. We could reference Demi Moore in The Substance, or Micky Rourke in The Wrestler, the clinging onto the grubby coattails of an industry with desperate fingertips, a business that has drained them of what was once needed, but which now distances itself from them at light speed. We’re given vignettes rather than real story arks. There’s the emotional wreckage of courting an estranged daughter, and a half-hearted attempt at romance with the socially-awkward, aging stage manager (played with moving empathy by Dave Bautista), but director Gia Coppola keeps us involved enough in this rhinestone-clad existential crisis. Shelley argues with her much younger dancer cohorts (the excellent Kiernan Shipka and Brenda Song) that The Razzle Dazzle has class, honoring a long line of French tradition. “It’s Parisian Lido culture,” she announces to a mostly-bored dressing room. For them, it’s just another softcore nudie gig with a paycheck: “It’s just a job that pays American dollars!” replies Song as she applies the cumbersome upholstery of her trade. At home, Shelly dances along balletically to old 16mm projections. In her mind, she’s a cultured entertainer, the most glamorous artiste in the trailer park, but it’s an increasingly debilitating delusion. She’s not Margot Fonteyn, she’s Tawdry Hepburn. I mean that less cruelley than it reads, because in many ways, she’s admirable, supportive and, as she maintains throughout, just doing the best she can (-can). The most memorable scenes, though, come with the whirlwind support of Jamie Lee Curtis. Her fake-tan-daubed Annette is a hard-as-iron cocktail waitress in a downbeat casino, withered by decades of sulphuric lighting and cigarette smoke, but gamely punching her way through every single shift. Both Curtis and Anderson have euphoric solo dance scenes that let the light shine out of their hearts, if only for one last song. They may be crying every night into their homemade margaritas, but The Old Razzle Dazzle can still sometimes paste on a smile, flip off the world and hold its head high. (PO)  Harold and Saint Claude
Review by Dorian Hatchett In theatre, we seek truth. The universal human experience, writ large in lights and choreography. Those of us who spend a lot of time in dark auditoriums, though, we know a secret. The secret is pain. That great equalizer that pulls every successful script together, that unites every frenzied backstage quick-change, or last second lightboard fix is pain. The shoes that don’t quite fit and the rehearsals late into the night on twisted ankles and costumes that pinch. Play through the pain. And if you do it just right, and all those elements coalesce, it’s magic. You get to make the audience feel that pain, too. If the universal human experience is pain, then the exceptional human experience is joy. Across thousands of years of human history, we repeat ourselves, with the same casual cruelties and tragedies big and small. Again and again, the man made horrors persist. We can draw parallels, and translate across cultures, and the pain is all so poignant, and true. But in the periphery of pain lies joy, and the people who are exceptional, who perpetuate it, despite knowing far too much about the flip side of their shiny coins. Harold and Maude, a movie that premiered in 1971, to a loathsome critical response, is a dark comedy about death, and the life that people may choose in spite of it. It rose to cult status several years after its initial debut, where it remains to this day. An exaggerated may-december romance, Harold Chaisson is a very young man who is obsessed with death. Maude is an old woman who has seen death, and has chosen instead to live in every sincere sense of the word. At its root, it’s the story of generation separation from tragedy. Maude is a Holocaust survivor, and Harold is too young to understand what that means. The film coalesces with Maude choosing to embrace death on her own terms, and Harold, horrified, finally understands her lessons completely. In Harold and Saint Claude, we move the settings forward two decades, and to New Orleans, where young, sheltered Harold is still death obsessed, but is struggling with his sexuality in addition to his desire to feel anything at all in a life dominated by his overbearing mother. Doing perfect justice to the original material, director and adaptor Thugsy DaClown honors the struggles of youth and attachment, while shaping the motivations of the characters to a slightly more modern struggle. Saint Claude is an aging drag queen who has seen the worst parts of the rise of the AIDS epidemic, has not remained untouched herself by the virus, and has chosen to live, despite the ticking clock she feels over her own life. Like many people affected by the virus in the time before effective treatment, dying by choice is preferable to wasting away alone at the end, and she must teach Harold how to live before her life ends, on her 66th birthday. Bizzy Barefoot, in the role of Saint Claude, is stunning. She conveys the joy and heartache of aging, the fear and elation of being alive in every moment, in a way that had the audience hanging on her every word and grand gesture. Rose Falvey as Harold is earnest; the folly of youth personified, and the agony of watching them learn these hardest lesson is palpable and uncomfortable. The entire supporting cast is superb, a comic relief beacon in the darkness. As the play reaches its climax, there’s not a dry eye in the house. They were reciting a script, but the audience found the truth inside of themselves, and it spilled out in laughter and tears. It would be a grave error not to comment on the presentation style. The director created an immersive experience, with a live band covering and adapting popular music and an accompanying film reel to add depth and scenery to an already vibrant set. At the end, filing out full of smiles, it can be safely assumed that the audience felt another altogether different universal human experience: wanting more.  Adapted by Nia Vardalos from Cheryl Strayed's deeply personal book, Crescent City Stage presents Tiny Beautiful Things, "a raw and honest exploration of the human experience".
Tiny Beautiful Things personifies the questions and answers that the publication “Sugar” was publishing online from 2010-2012. When a struggling writer was asked to take over the unpaid, anonymous position of advice columnist, Strayed used empathy and her personal experiences to help those seeking guidance for obstacles both large and small. Tiny Beautiful Things is billed as 'a play about reaching when you’re stuck, healing when you’re broken, and finding the courage to take on the questions that have no answers'. It stars Tenet Intriago, Steve Zissis, Helena Wang and Rashid Ali. Michael A. Newcomer directs. The production runs from May 8 - 25th at the Marquette Theatre. Click here for ticketing and more information.  Photo: Le Petite Theatre Friday May 2nd sees the opening night of Doubt at Le Petite Théâtre> the play is the recipient of the 2005 Tony Award® for Best Play and winner of the Pulitzer Prize for Drama. The plot involves Sister Aloysius, a Bronx school principal, who takes matters into her own hands when she suspects the young Father Flynn of improper relations with one of the male students.
Leslie Nipkow appears as Sister Aloysius Beauvier. Playing opposite as Father Brendan Flynn is have David Lind, supported by Elizabeth McCoy as Sister James and Queen Shereen Macklin as Mrs. Muller. New Orleans native, Ashley Santos, takes the helm as Director. Doubt at Le Petit Theatre runs through May 18th. Preview night is Thursday, May 1st. PERFORMANCE SCHEDULE: May 1 – 18, 2025 | Thursdays - Saturdays at 7:30 PM; 3:00 PM Sunday afternoons. Saturday, May 17, matinee performance at 2:00 PM. Student matinee performance Thursday, May 8 at 10:00 AM. Click here for more information and ticketing.  Photo: Cat Landrum, 2nd Story Creative The New Orleans Shakespeare Festival at Tulane has announced its 32nd season, featuring an array of comedic classics and innovative performances.
This year's season opens with an exciting new translation of Moliere's The Imaginary Invalid, directed by Ann-Liese Juge Fox and starring New Orleans favorites, Doug Spearman and Jessica Podewell. Preview performances begin on June 5th, with the official opening night on June 6th. Performances are Thursday, Friday, Saturday, and Sunday matinee from June 6th-June 22nd Following this world premiere, the Festival presents Shakespeare's A Midsummer Night's Dream. This will be directed by Graham Bur and feature James Bartelle, Jane Cooper, Ian Hoch and Alexandra Miles in the cast. Preview performances begin July 101h, with the official opening celebration on Friday July 11th. Performances are Thursday, Friday, Saturday, and Sunday matinee from July 11th though July 27th In addition to the mainstage productions, the Festival is excited for the return of last season's lagniappe series that "promise to push the boundaries of traditional theater". On June 25th, The Fools Ensemble be back in the Lupin for A VERY IMPORTANT PLAY - a fusion of improv and Shakespeare. On June 28th, (un)prompted Shakespeare, featuring actors rehearsing and performing Shakespeare's classic tragedy King Lear in a single day, without the aid of scripts, but with the lines projected as supertitles Click here for more information and updates The New Orleans Culinary & Hospitality Institute’s (NOCHI) Culinary Arts and Baking & Pastry Arts Spring 2025 cohort invites guests on a journey to East Africa at Waliimo (pronounced wah-LEE-moh). This student-created pop-up café will blend the bold, diverse flavors of Ethiopia, Somalia, Eritrea, and beyond. The pop-up opens for lunch beginning Tuesday, May 20, at NOCHI’s downtown campus, 725 Howard Avenue.
From smoky grilled meats to vegetable-forward stews and fragrant rice dishes, Waliimo will offer a vibrant exploration of East African culinary traditions, all imagined and executed by students as their capstone project and final step toward graduation from NOCHI’s 100-day certificate programs. Guests will enjoy a thoughtfully-curated menu, and an immersive dining experience that reflects the hospitality and flavors of East Africa. There will be a focus on authentic regional spices, including cardamom, cloves, ginger, and paprika. Vegan, gluten-free, and dairy-free options will all be featured. Reservations are now open for this culinary experience at www.nochi.org/waliimo. Seatings are available from 11:30 AM until 1:00 PM on the following dates: Tue., May 20 – Fri., May 23 Wed., May 28 – Fri., May 30 Tue., June 3 – Fri., June 6 Tue., June 10 – Fri., June 13 Proceeds and donations from Waliimo will support the NOCHI Scholarship Fund, helping to open doors for aspiring chefs and bakers who rely on financial assistance to enroll. Guests can donate by attending or contributing online at nochi.org.  New Orleans' Blue Theatre Co. will premier Bunny Hill Motel, an original noir thriller by Alex Anthony Vazquez, on May 23, 2025 at the New Marigny Theatre.
Set in 1977 in a rundown roadside motel, Bunny Hill Motel traps its characters in "a boiling pot of suspicion, lust, and fatal ambition". The plot revolves around John, a desperate man on the run with a bag full of stolen cash, who checks in for what he hopes is one last night of pleasure before escape. But when unexpected visitors arrive - an enigmatic call girl, an ominous "friend," and a nosy motel clerk - the walls start to close in. Written and Directed by Alex Anthony Vazquez, Bunny Hill Motel is billed as a noir fever dream with a raw, intoxicating atmosphere. "This is about the thin line between escape and entrapment," says Vazquez. "These characters are trapped in their choices, in their past, and in the pulse of desire they can't silence." Venue: New Marigny Theatre Dates: May 23 - June 1, 2025. 8PM Click here for ticketing and more information  Some of New Orleans' biggest names in music and entertainment are coming together this weekend to being a brand new, innovative and immersive event to the city. Funkstar 2025 takes place this Sunday 27th April featuring Erica Falls, AJ Haynes (Seratones), and animation characters voiced by Tarriona “Tank” Ball and Martin “Bats” Bradford (of NCIS: New Orleans fame).
Journey to Funkstar is a one-night-only immersive concert experience launching Sunday, April 27 at Republic NOLA as part of the 12th Annual NOLAFUNK Series during Jazz Fest. It's a high-energy, high-tech musical event that blends progressive New Orleans funk, sci-fi visuals, gaming, cosplay, and interactive storytelling that, in the words of the organizers, "Will take audiences on a funk-fueled odyssey like no other. Headlined by genre-bending powerhouse Water Seed, the event features an electrifying lineup of special guests: But Funkstar isn’t just a concert — it’s a full-sensory trip. Audiences will step into a retro-futuristic world of live music, digital and comic-book-inspired visuals, animation, and immersive technology. The animated characters will be bringing a bold new layer of storytelling to the experience. The event includes a cosplay contest, video game zone, and sci-fi art installations, making it a full-sensory experience rooted in Black creativity, futurism, and funk. More details and ticketing including $10 student tickets at journeytofunkstar.com Keep your Jazz Fest license to chill going with a happy hour cool down at Mister Mao. Enjoy $8 sunburn classics and a special boozy snowball collab with James Beard award winning Hansen's Sno-Bliz. Hansen's has been serving New Orleans for 86 years, and Mister Mao is excited to welcome theirTchoupitoulas Street neighbor. Wear your best Tommy Bahama & straw hat and join the Mister Mao team at the tropical roadhouse on April 28, 2025 from 5:00pm to 7:00pm.
Hansen's Sno-Bliz Rum Punch $12 rum, amaro, cream of blueberry, cardamom, mint Sunburn Classics $8 Salty Dog, Margarita, Aperol Spritz, Mai Tai or Michelada The New Orleans Jazz Museum and The NOCCA Foundation, in partnership with The Gia Maione Prima Foundation, are excited to debut the 2025 NOCCA Foundation Concert Series, a dynamic new initiative designed to celebrate the artistic excellence of NOCCA alumni, students, faculty and affiliated artists through live performances and original artistic commissions. The series will take place at the New Orleans Jazz Museum’s Performance Center (400 Esplanade Avenue), with the opening concert this Thursday, April 3 featuring two-time GRAMMY-nominated creative Gladney. Admission to the NOCCA Foundation Concert Series is free and open to the public. Seating is limited and offered on a first come, first serve basis.
2025 NOCCA Foundation Concert Series Schedule:
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