A true queen of international burlesque and cabaret, the stunning Chrys Columbine is frequently described in the press as “Britain’s answer to Dita Von Teese”, and but with a twist – she’s the only burlesquer who combines the art-form with her breath-taking skills as a trained-concert pianist.
Often hailed as “the porcelain doll” and “burlesque goddess”, the London-born showgirl is known for her unique, exquisite routines, dazzling audiences all over the world with crystals and classical piano.
Having mesmerized crowds all over the world her clients have included Dom Perignon, Cannes Film Festival and London 2012 Olympics! Her countless media credits are BBC, ITV, Channel 4, MTV, Vogue (UK, Italia), Glamour (Italy), Playboy (France and Italy), The Mail On Sunday, The Guardian, OK!, Time Out (UK, Sydney) to name but a few.
As one of the most original, charismatic and celebrated figures in the industry, Chrys Columbine is a driving force alongside her acclaimed contemporaries in bringing burlesque and cabaret into the mainstream and is currently is breaking the boundaries at Dubai’s prestigious theatre club The Act, in her spectacular UAE debut.
UAE Style Magazine recently had a chance of interviewing the beautiful Chrys Columbine about her entry into the world of Burlesque, her progress to what she is now and her experience of performing in the UAE.
1. How did you enter the world of Burlesque? Please tell us a little about your journey.
I’ve been in awe of old-school Hollywood glamour and retro-pinup style since I was a child. I, like a lot of other little girls am sure, when I grew up wanted to be like the women on the silver screen: Vivien Leigh, Ava Gardener, Audrey Hepburn, the list is endless!
I kind of fell into burlesque by accident. I’ve been in showbiz on-and-off, all my life (trained as concert pianist, went to a very prestigious stage school and had few bit parts in theatre and TV as a child) so I was no stranger to being on stage.
But it was my brief work as fashion model, of which my vices where corsetry and lingerie, that eventually lead me to burlesque. I saw my first ever burlesque show by one of the original pioneers of British burlesque, Gwendoline L’Amour at a famous London club and instantly fell in love. I knew this was what I wanted to do. We became good friends, I worked as her assistant and got to know a little about the industry. But it wasn’t until years after that I would get started and do my first ever burlesque show and honestly, I’ve not looked back!
2.How do you feel about people considering Burlesque as a taboo subject although history tells us that its roots come from the operas and theatre back in the 1600s?
I can understand the misconception of people who have not previously been exposed to it, mainly because of the striptease element. But the term “burlesque” comes form the Italian word “burla” which means “comedy”, “parody” and was used in opera as a light-hearted mockery of the high arts. One must remember that it is a theatre art in it’s own right and traditionally was part of a variety show. A burlesque artist in the days of the speakeasies of the 20s, 30s 40s were highly-skilled dancers, singers, actresses or all three.
A most famous example – the Can-Can that was made so famous by the Moulin Rouge, is originally from Offenbach’s comedy-opera “Orpheus in the Underworld” and the Can-Can, if you think about it, is a very tongue-in-cheek parody of the ballet!
3. People often confuse themselves between burlesque and striptease. How do you differentiate both of them?
Though striptease is often an integral part of a burlesque routine, it is by no means essential. A straight-forward strip very much has sexual implications but burlesque is about the glamour and theatrical performance of a larger-than-life show – it’s about being character on stage and being larger-than-life, a fantasy.
4. Is burlesque about the performance, the artist, the tease or the nakedness? What do you think attracts the audience the most?
The nakedness is irrelevant because often there isn’t necessarily that much of it. It’s the artist, her presence, the way she carries out her actions on stage and above all – engages with the audience, the eye-contact, the smiles – that is the most compelling to them. My most rewarding experiences have been when I’ve truly connected with an audience, whether they be in an intimate venue of 60, or a theatre auditorium of 1500.
5. You are a pianist extraordinaire. How did you get not music and who taught you?
My father was a semi-professional classical guitarist in his youth so he brought up on classical music. Compared to most concert-trained musicians however who start age-five, I has a relatively late start at the age of ten. After a few false starts I was lucky enough to train with a very prestigious concert pianist from Japan and later went to the Junior Guildhall School of Music – one of London’s most-renowned conservatoires. I also have a BA Honors Degree in Music.
6.You’re the only artist who combines playing the piano with burlesque. How did you think about this idea?
Being a concert-trained pianist AND half-Italian, music is the centre-point of my passion and part of my heritage. I’ve always been a Maverick, never one to follow the crowd and when I first started burlesque I wanted to be an innovator. I decided to merge the two art forms. One of my all-time favorite pieces by Chopin is his Nocturne in C-Sharp Minor and I devised a way to cast aside my garments whilst playing it on the piano – and my signature show Naked Nocturne was born. Most recently, I co-created a new piano/burlesque show for my debut in Dubai with The Act, which is a new experience for myself as well as the crowd, and one would have to attend to find out why.
7.Tell us about your most exciting performance ever.
You’ll find out when I’ve written my autobiography, it’ll be in there and all the saucy details will come with.
8. As an artist, who has been your biggest inspiration? And if you had a chance to meet one person today, who would that be?
Unfortunately the person I’d most like to meet has been dead for nearly two centuries.
The artist who is my idol and biggest inspiration is the classical composer Ludwig Van Beethoven. Not only musically, I also completely admire his strength of character and spirit. God works in mysterious ways and on this occasion that rings true. He gives a man an immense musical gift and ability to compose works that are so timeless, then the same man develops an illness which results him in becoming stone-deaf! As a result he had a very hard life, was never able to relate to anyone and was tormented by the fact that he could not even hear his own music or any other. But rather than despairing, he went on to create works like his 9th Symphony which is arguably the greatest symphony ever (commonly used as a football anthem), and as well as that, was strong, honest and direct to the point that he didn’t care about what he said or who he said it to. If he was upset, everyone knew it – archdukes, princes and any other wealthy patron in his life – and he got away with it.
His musical genius, belief in his talent, genuine fearlessness despite his infirmary, and passion for life makes him a role-model for any man or woman.
9. How do you deal with controversies and the paparazzi?
I just smile and give them my attention. After all, they are giving me theirs and though some do not care to admit it, every showbiz person likes the attention. What person in the public eye these days, does not cause a little bit of controversy, it’s the nature of the business right?
10. Why do you think it is that women are the majority who are drawn towards burlesque?
Burlesque shows more-often-than-not encourage it’s crowds to dress up in themed-attire. The ladies love to dress and make up and with the likes of pin-curls, perfectly-arched 40s eyebrows, satin gloves and feathered boas intact, are almost always very, very good at it and feel a part of the show themselves. But most of all, I think women feel real satisfaction and identification with seeing another female on stage, completely comfortable and empowered by her own natural elegance, glamour and femininity. It’s an inspiration and aspiration to women, as I believe it should be.
11. How do you stay fit and so beautiful?
First of all, thank you. I think the key to being healthy on the outside-in, is to follow basic common-sense. Drink plenty of water, eat healthily and by that I mean including tons of fresh produce (keeping unhealthy treats as just treats), work-out regularly, get as much sleep as you can, and if you really have to – only expose yourself to the sun in moderation. I love the sun and heat as much as the next person but I always without fail, wear Factor 50 sunscreen, even in the winter.
12. What keeps you occupied in leisure time?
I very rarely have the above as most of it is spent preparing for something to do with work, or traveling to it. But when I eventually do get some free time, I love being completely on my own and going whether it be in a beautiful park, secluded beach or a silent graveyard. And it was just last weekend that I was lucky enough to be taken out to the Arabian desert by a close friend… so now I can add that to the above list.
13. How was your experience of performing in UAE? Any anecdotes or exciting moments that you would like to share with our readers?
Well, the whole experience firstly, has been an exciting and awesome adventure as last week was my UAE debut.
The Act is THE club I most wanted to perform at in this region, so that for a start has been an accolade. It is the only venue in the UAE which combines fine-dining with a grand-scale theatre-cabaret show; being on the 42nd floor of the Shangri-La Hotel makes it the highest theatre-venue in the world, and it’s stunning Victorian interior all completely appeal to the side of me that adores being amongst sumptuous, sophisticated and decadent surroundings!
As well as my signature Feather Phenomenon Fan Dance, I created something especially for the theme “Toys In The Attic” and with a porcelain doll which closely resembles me plus a matching costume, a piano-doll act was born. Been aware and respectful of the modesty required in the UAE I came prepared with full-coverage of my figure.
However at the rehearsal, when first performed the routine which was already of a cutsie, demure nature, the director mentioned that half of it had to be cut and altered as it was too saucy and inappropriate for this part of the world. I’ve got to say, I couldn’t help but laugh!
The crowds at The Act have been fantastic, I love the eye-contact and I’ve felt them truly responding to me so far. I think a highlight has to be, when at the end of the shows we go and sit with members of the audience before the curtain call. I came to a table of five in full, doll character, and a lovely lady said “I want one”.
I’m sure to have a few more before this week is up.
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