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Interview with a Demon Part 1

Part 1 (my notes on an unauthorized interview with the Guardian)

 

As a scribe, albeit a low-level one, I’ve had some pretty harrowing experiences with my characters, many of which have straddled that dark line between what’s real and what comes from my imagination. I’ve been invited to a vampire’s home where I was soundly threatened and warned away from the story I was writing – a story too personal for his liking, a story I was forced to write anyway. I’ve met Magda Gardener/AKA Medusa on the Manhattan Bridge, where she all but hijacked me into her consortium. I’ve even walked in the storm tunnels of Vegas with Hades and Cerberus/ AKA Jon and Gus. I was pretty jet lagged at the time though. I’m still not sure that wasn’t just a dream.

 

While I’m not a Scribe in the true sense that Susan Innes is, Magda seems to think that as far as simply recording the stories she wants told, I’ll do. That means I’m often put into, shall we say, unusual situations. While vampires are terrifying, and somehow Medusa, in her Magda guise can be convincingly safe, if she wants to be … as long as you don’t look too closely, the interview I’m about to share with you is completely unsanctioned. Not a chance it’ll stay beneath Magda’s radar, and yet, when I was asked by the interviewee to tell his story, how could I refuse? In fact, I’m not sure refusing was an option. I don’t mind saying that interviewing Hannibal Lector through the bars of his prison would have made me less anxious. You see Susan Innes has approached me to interview the demon now imprisoned inside her body. Since she is both his prison and only one of two people to survive a full possession by him, neither of them felt she could possibly write his story objectively.

 

Susan meets me at the door of the penthouse apartment in Tribeca, which she shares with Michael, who is a fallen angel, or retired, as he prefers to call himself. He’s the only other person to survive possession by the demon. It’s night, and the lights of Manhattan are like jewels flung out beyond ceiling to floor windows of an open planned living space big enough to pass as a small ballroom.

 

Susan is a vampire, but that’s not why she asked me to come to her at night. Because of her demon prisoner, she could have easily met me in broad daylight on the Manhattan Bridge or in Central Park. But this interview will involve a bit of dream magic. The demon I’ll be interviewing, known as the Guardian, has insisted that it be him I speak to without using Susan as the intermediary. That means I have to approach him through dreams.

 

You’re probably wondering how I could possibly sleep in the presence of a scary-ass demon and a vampire. With the help of a succubus, of course. In the guest bedroom where the interview will take place, Talia Zephora looks up at me and smiles. She sits in a wing backed chair flipping through the pages of Cosmoand sipping red wine. “We meet again, KD.” She doesn’t offer me her hand, which is just as well. I know exactly what I would feel if she did, and I’ll experience enough of her magic very shortly anyway. “You manage to get mixed up with some rough characters, don’t you?”

 

I just smile stupidly. There’s no good answer to that one. “How’s Alonso?” I ask. She works for him.

 

“He’s got his hands full now that Reese has joined the growing ranks of the undead.” She offers a low throaty laugh. “Though he’s so cute when he’s hungry. Reese, not Alonso. Alonso is never cute.” She lifts her glass to me. “Want some. It’s a good one.”

 

“No thanks,” I manage, hoping no one will notice the little tremor in my voice that I can’t seem to get rid of in spite of all the fail safes I’ve been assured are in place.

 

She nods. “Just as well. You won’t need it to make you feel good, I promise.”

 

The fight or flight response kicks in, and I take a step back and reach for the door handle involuntarily. She laughs out loud. “Just kidding. I’m just here to get you inside,” she nods to Susan and shrugs, “Wherever the hell inside is. I suppose it’ll be up to you to find his cell. After that, well then you’re on your own.”

 

Susan flips Talia the finger and the succubus blows her a kiss for her efforts. “It’ll be okay, KD.” Susan says nodding to the bed. “All he wants is a chance to tell his story. He figures you know him better than anyone … at least you think you do.”

 

I can’t help wondering if that last little bit is Susan speaking or the demon.

 

I kick out of my shoes and lay down on the enormous brass bed. Ideal for handcuffs and rope, a thought I wish I hadn’t just had. I’ve worn a soft pair of track bottoms and a tank top, something comfortable but not too intimate. This is an interview, I remind myself. That’s all. Susan pulls a blanket up over and tucks me in. Her gaze moves to the pounding of my pulse in my neck and she pats my shoulder. “Just relax. It’ll be all right.”

 

It’s damn near impossible to relax as Talia crawls under the blanket next to me, still fully dressed, so we are keeping it all business-like. Then she takes me into her arms and pulls me close, and I realize it doesn’t matter what she’s wearing. I’m completely at her mercy, that is until I meet the Guardian, then a succubus might well seem like a waltz in the park. Even as her kiss pulls me under, I can’t help remembering what the Guardian has done to others, what he’s capable of doing to me. Promises of safety suddenly seem ridiculous, and just when I’m about to reconsider, throw off the blanket and make a run for it, I fall fast and deeply asleep.

 

Scarlet Ladies: Reclaiming Women’s Sexuality Part 1

Scarlet Ladies-logo-medium

 

Several weeks ago, I had the privilege of being included on a panel on porn and female sexuality sponsored by the totally amazing Scarlet Ladies –Jannette Davies and Sarah Beilfuss. They have a plan for world conquest, as Sarah says, it includes “empowering every women on this planet. We want to have an impact on shaping sex education in this country and every country. Basically we want to change views on how people think of female sexuality.”

 

The Scarlet Ladies host women only events in London to talk about sex with the aim of normalizing the conversation Scarlet Ladies pic Unknownaround female sexuality, its problems, pains and pleasures.

 

Theirs is a plan, I can happily support. With that in mind, I invited them to a Skype interview so that they could share it all with you. The interview was so full of exciting information and so intriguing that it will be in two parts. The first one is here on my blog today, and the second half will be on The Brit Babes Blog on Monday the 23rd of May. Be sure to put that date on your calendar. You won’t want to miss it.

 

A Scarlet Lady is a woman who is or wants to be in charge of her sexuality and her needs. She understands her needs, desires and is not ashamed to get what she wants. From her work life to her personal life she is the author of her book.

 

This is the definition of a Scarlet Lady front and center on the Scarlet Ladies website. I personally think aspiring to be a Scarlet Lady is a very worthy goal.

 

“It was actually a rant at Costas about sex that got the idea of more women sitting around talking,” Jannette tells me.

 

“Everything came about really organically — two women talking about sex.” Sarah adds. “We just wanted to give other
women the opportunity to talk about sex the way we did that day.

 

Jannette nods her agreement. “The more women we met, the more they started introducing us to other people. A few Scarlet Ladies pic 3months down the line we launched Scarlet Ladies and here we are.” At this point, Sarah’s cat, Kira, hops up onto her lap and both women laugh. Sarah says a pussy is the perfect mascot for the Scarlet Ladies.

 

Sarah and Jannette met at networking events. Sarah is a personal transformation coach specializing in burn out and fatigue, and ‘getting your BOOM back.’ She uses those skills in the group coaching environment to help women overcome sexual challenges in SLT Scarlet Ladies talks.

 

Jannette runs an online website and magazine, Chareemag to which women contribute stories as well as fashion, lifestyle, sex and relationships articles. “It’s a place for women to have their voices heard,” she says. She was a beauty therapist before that. She also worked in Ann Summers. “That allowed me to be comfortable with sex and seeing it as a natural thing.”

 

The two tell me that while Jannette was more liberated, Sarah really had hang-ups around her sex life. Jannette’s goal is to create a space where women can talk without being judged. Sarah sees her goal as supporting the kind of women who aren’t that open, would like to be more so but don’t quite know how.

 

The Scarlet Ladies have clearly discovered that women want to talk about sex; they just needed the opportunity and a safe place, but I wonder if it was hard in the beginning to get them to open up?

 

The answer is a resounding No! Both women assure me that even before there was a group coming together to talk, the Scarlet Ladies59044624women just turned up, and they just talked. “It’s an amazing release,” Jannette says. “We don’t struggle to get them to open up. The panelists lead the way to that opening up.”

 

The bigger challenge, Sarah says, is getting women through the door, because there’s lots of stigma around women’s sexuality. “Initially the reaction I got was that it was a bit smutty – ‘you just want women to go and sleep around.’ That is precisely what SL is not,” she emphasizes. “It’s about pleasing yourself. It’s about what we want. We need to learn what WE want. In promo, however, it’s still a bit of women’s little dirty secret.”

 

I ask what they think frustrates women the most about ‘the politics of sex. What frustrates them the most?

 

Jannette thinks a lot of frustration comes from how women really are and what they and popular culture think they should be. “Even though now women are more sexually ‘out there’ than before,” she says, “everything about life and society pushes women to be a certain way — the expectations of what they should be and what they need to be in their sexuality and the way they look.”

 

“While appearing not to be sexual, but virtuous,” Sarah adds.Scarlet Ladies pic 2Unknown

 

Sarah goes on to say that she thinks one of the biggest problems is gender inequality – the idea that certain thing’s are ok for men but not for women and how that inequality puts women at risk. “Our attitude that ‘boys will be boys’ is not protective of women,” she says. “We have to teach boys how to act around women.”

 

The lack of sex education is another problem they both see. Sarah states the sex education that used to be taught in the UK was barely worth having, but now even that’s not mandatory.

“Society says men always want sex, but women want it all the time; they think about it, but don’t communicate it,” Sarah says. “I think women are a lot more sexual. In the very ancient cultures the female energy is where all sexuality sits. Tantra is a good example. The loss of that freedom was to suppress women to take away their power. If a woman is at the top of her game, her vagina will be part of her.” Then she adds sadly, “Most women end at the neck.”

 

I ask what surprised the two of them most when they started Scarlet Ladies.

 

“That we’re all so different and that it’s all normal,” Sarah says without having to think about it. “For example, while Scarlet Ladies friends-966489_1920
women may like lesbian porn; it doesn’t make them lesbian. Very often women come back to us after the meeting
saying, ‘Oh, I’m normal!’ We keep it to ourselves so much that we don’t really know what normal is.”

 

Check out The Scarlet Ladies website for more about their mission and for all upcoming events.

 

Be sure to check out the second half of my interview with The Scarlet Ladies on The Brit Babes Blog Monday the 23rd of May. You won’t want to miss it.

 

 

 

 

Sex and Relationship Therapist, Sarah Berry Talks Shop, Kink & ‘What’s Normal’

It’s my pleasure to welcome Sarah Berry, good friend, sex and relationship therapist and all around fabulous person, to A Hopeful Romantic to talk about her work with us.

Sarah BerryKD: Sarah, when you and I first met, you were the editor of Forum Magazine, and you were also a very talented writer in your own right. During the time I’ve know you, you founded the Fannying Around Women’s Group and always had an understanding of what was lacking in the area of women’s sexual health and the information and sources of information that are available. Becoming a sex and relationship therapist was the logical next step for you. What was the biggest change for you?

SB: Thanks KD. I think learning to be myself was a challenge. As a journalist at events I had to be larger than life as I was competing with a lot of other journalists to get the column inches. That said, when I was interviewing people on a one to one basis, I was much happier and relaxed.

When I started training some years ago, I thought therapists had to be this blank canvas with no discernable personality. I stopped wearing colourful clothes and tried to be very serious. But I realised that being human was very important to the process and that the way I was in my journalist interviews was more the person I should be as a therapist, things fell into place.

Now I am a professional version of myself, which means I am not trying to be something I am not, so I can concentrate fully on the client. Rather than being stuffy, disconnected and serious, I am warm, empathetic and down to earth. The relationship I build with the client is a huge part of the process in person centred therapy, as is being genuine, congruent and transparent.

KD: Sarah, you recently said to me, and I quote, ‘I actually think while some (people who lead alternative lifestyles) are having the life of Riley others are confused while others assume all therapists wouldn’t understand alt lifestyles (and I hate the word alt like I hate the word vanilla).’ Could you comment on this statement and tell us how that has affected the direction your career as a sex and relationship therapist will take.

SB: The media is quick to sensationalise kinksters, assume they are all survivors of abuse or fear they are all wannabe criminals. So the kinksters defend themselves by pointing out how the BDSM scene is very well policed and their mantra of being safe, sane and consensual. So there is a “them and us” type situation.

The reality is some people have a great time, some are working out what they want, some are new to the scene, some are veterans, some are still learning, some spend their time spouting dogma about the “right way” to do things… You don’t need to label yourself as a kinkster to enjoy a spot of spanking, and you don’t have to relish pain in order to be kinky. Some kinksters have been abused and successfully use kink to work through their pain while others can harm themselves by reliving the trauma. It is complicated; things can go wrong and things can go right. I will be blogging about being kinky on my new website http://www.LondonKinkTherapist.co.uk.

Because of this difficult backdrop I try to listen to my clients and not make assumptions about what they do or how they think. Just because someone is into BDSM (which stands for bondage, discipline, dominance, submission and sadomasochism) it does not mean this is the cause of their problem. Sometimes people do use kink to harm themselves but it doesn’t mean they must eschew all kinky practices in order to have a healthy sex life. Each person, couple or group I see is different and we work out what they want and need together then we work out how to help them get there.

KD: Sarah, I know a little more about the journey that led you down the path to therapist than most people do, and it’s an amazing journey. Would you share some of it with our readers please.

SB: I think you’re meaning that I have overcome my own psychosexual issues. My struggle with vaginismus inspired me to start Fannying Around. But even though I have overcome it, I think sex is a journey for everyone – whether you choose to have it, can’t have it, are alone, have a permanent partner or enjoy a variety of partners at a time. I am always learning and open to new thoughts and ideas. If I wasn’t I think I would be a rather jaded therapist.

KD: Are there future plans for Fannying Around?

SB: I do really want to bring Fannying Around back. It was a wonderful forum and I learned a lot from the members. I will be sure to let you know.

KD: What was most difficult about your transition from editor/journo to sex and relationship therapist?

SB: I think it has actually gone pretty smoothly. I always cared about what I wrote and I had the luxury of writing for the people that I was covering – rather than being sensational. Now I am even more mindful of being inclusive of sexualities, genders and preferences which can be a bit tricky when giving quotes to heteronormative places that want you to fit into their neat way of thinking.

KD: What do you think keeps people from seeking out the help that’s readily available for them, the helpSarahBerry therapists like you provide?

SB: I think people assume you need to be experiencing real tragedy or be really “fucked up” in order to see a therapist. But everyone has stuff, and at different times this can affect our relationships, work and social lives more than others. To be in therapy doesn’t mean you are a victim. In fact I have a great respect for anyone who walks into my office.

Therapy can help you unpick a problem, work out solutions, help you improve communicating – especially if your arguments always follow the same pattern and neither one of you feels heard – or deal with unresolved issues or grief from the past.

Some people fear seeing a therapist will open a can of worms, maybe if they have experienced grief or do not want to disrupt a currently amicable relationship with a family member. But it is possible to deal with any disruption from past events by looking at what is happening in the here and now. If you do not want to relive the past you do not have to. You are in control at all times.

KD: Could you talk a little bit about ‘what’s normal’ from the standpoint of a therapist? I know this is something that is always a hot topic, and more than likely one of the main reasons people seek you out.

SB: I’m always hearing statements like: “I just want to be normal,” “I want a normal relationship,” “Our sex life isn’t normal. But the idea that there is a normal is massive misconception. Everyone is different. We all have different ideas of what good sex is or what we want from a relationship – if we want one at all. And what this idea of normal does is alienate anyone who feels they are normal; it creates freaks out of anyone who feels they don’t want a lot of sex, or who maybe has a fetish or who doesn’t want to be married. A “problem” is only a problem if it impedes your own sense of what you want, disrupts your work, social life or relationships and/or if you are causing harm to others. But this doesn’t necessarily mean you need to completely change yourself to fit in with the norm. It could be that you can find a new way to express yourself. Life would be boring if we were all the same, fancied the same people or had the same desires.

KD: What does the future hold for Sarah Berry, sex and relationship therapist?

SB: Well I will continue with my private practise and carry on learning about the world of sex and relationships. I would also like to do more group therapy and more writing.

KD: How can people get in touch with you?

SB: You can contact me through my website sarahberrytherapy.co.uk, via email at sarah@sarahberrytherapy.co.uk or call me on 07581 231313.

 

 

 

The Many Faces of Moorita Part 2

Moorita 6I’d like to welcome back the fabulous Moorita Encantada. For those of you who missed Part I of this interview, Moorita is not only a fabulous performer with an amazing creative mind, but she’s also my  co-conspiritor for the play, The Eye of The Beholder.

Moorita is a versatile cabaret and variety performer, and an unforgettable stage persona. Her acts combine a professional touch of a trained theatre performer and musician with an outstanding originality and unrestrained creative expression.

Wild, unpredictable and ever surprising, she has already brought a breath of fresh air to cabaret stages in London and beyond. Her work has been applauded at UK’s best cabaret nights and venues such as Madame Jojo’s, Proud Cabaret, Volupté and The Wet Spot Leeds, as well as internationally. But the fulfilment of her bigger artistic vision is only about to happen..

KD: Moorita, as I told you when we began this project, it’s all new to me. I’ve never written for theatre of any kind. I’m a Moorita 8novelist, but fundamentally a story teller is a story teller, and a story told through the medium of performance as well as words is even more powerful. What do you think it takes to translate a story from the written word to a stage performance? What’s most important?

Moorita: From a perspective of a theatre performer I would say that precision, conciseness of the story line and integrity of characters is key. Both need to stir different emotions in the audience, they need to demand to be followed with attention. At the same time – maybe even more so in performance than literary works – the audience needs to be challenged in order to stay engaged. Art within a performance is so delicate and intangible, it’s what happens between the actor and the viewer within a certain time frame, and once it happened, then and there, it’s irretrievable. This means the performance is incredibly prone to a variety of things that might go wrong. Strong, integral story and well sketched characters are the spine of performance, the precious certainty in the middle of all the variables that holds it all together.

KD: As most people know by now, the story we’ve chosen to tell is the story of Medusa and Perseus, from Greek mythology, but with a very wicked, very exciting twist of our own. Could you tell us what attracted you to this particular story, other than me saying please, please, please can we do it!

Moorita: I’m very fond of mythology myself, after all, this – together with holy texts of different religions – is what our culture is built on. What’s amazing about the Bible, Quran, I Ching and Greek mythology is different layers of meanings waiting to be uncovered by a keen reader. What can be particularly satisfying is digging deeper into characters and stories that have a commonly accepted stereotype. One of such stories is the story of Perseus and Medusa, a mythical monster which ends up the way monsters are supposed to end up – dying a death that supports a “good” cause.

On second glance though, there seems to be more to Medusa, there is some controversy and a tragic story behind her becoming a monster (she was raped by Poseidon in Athena’s temple and consequently “punished” by the goddess). Yet another look, and a fascinating character emerges – together with a whole lot of questions about what the real story behind the myth might be, or how the well-known story could be told differently. After I read your short story Stones from the anthology, Seducing the Myth, edited by Lucy Felthouse, I was hooked on the idea. I knew this would work incredibly well on stage.

KD: Moorita, my vision of the play was, for a long time, just to get it written down and give you something to work with. Oh yes, I was nervous about it! But now that it’s on paper, now that you’ve actually performed one fabulous scene from it to rave reviews, I might add, what is your vision for the road ahead?

  Moorita 4Moorita: Apart from being a mad creative genius 😉 I also have a pragmatic side, fully aware of what it takes to make complex, unproven things happen, and I’m very results oriented. My experience of creating great acts suggests that after a glorious moment of getting a key creative insight, there always comes a “reality test” when things start to feel a little awkward and you are no longer dead sure you are a mad genius. Only truly good ideas (coupled with big enough balls) can stand that test and get implemented with success.

After my performance at Sh! I’m convinced that the play, once on stage, will not only take burlesque to a new level, but, quite simply, will also be a box office success. I now have a clear vision of next steps: break the script into separate scenes that can be performed on their own, find fabulous performers to fill in the gaps between the words with their charisma, and let each of these acts defend itself in front of a real audience.

KD: Wow! I get goosebumps just thinking about it! Moorita, I happen to know for a fact that you’ll be giving another taste of Medusa, and The Eye of the Beholder in Scarborough for the fabulous Smut by the Sea event on the 22nd of June. Can you tell us a little bit about that and maybe tease us a bit with what you have in mind?

Moorita12Moorita: Oh I can definitely tease about Smut or indeed anything else for longer than you’d be able to take it 😉 My ambition for the 22nd of June is to perform, for the first time, a scene between two characters from the play. Without revealing all (just yet!) expect a serious sparkle between them and, quite possibly, some stunning Shibari bondage.

KD:  Oooh! Sounds fabulous! I can hardly wait! So, Moorita, my partner in crime and my friend, it’s been an exciting ride so far, and now, where do we go from here?

Moorita: Heh, I suppose it’s high time to get serious about taking over the world with our artistic vision! 😉 And, as Garbage put it in a song, “the world is not enough, but it is just the perfect place to start my love”.

KD: Thank you so much for your time, Moorita. I’m most definitely looking forward to the next chapter of world domination Moorita & KD style! And if any of you lovely readers are in the Scarborough area on the 22nd of June and have a hankering for some Smut by the Sea with a sexy helping of burlesque and theatre Moorita style, come join us!

 

The Many Faces of Moorita Part 1

An interview with Moorita Encantada

Moorita 9I can’t tell you how excited I am to be interviewing my multi-talented friend, Moorita Encantada. Moorita is not only a fabulous performer with an amazing creative mind, but she’s also my  co-conspiritor for the play, The Eye of The Beholder.

Moorita is a versatile cabaret and variety performer, and an unforgettable stage persona. Her acts combine a professional touch of a trained theatre performer and musician with an outstanding originality and unrestrained creative expression.

Wild, unpredictable and ever surprising, she has already brought a breath of fresh air to cabaret stages in London and beyond. Her work has been applauded at UK’s best cabaret nights and venues such as Madame Jojo’s, Proud Cabaret, Volupté and The Wet Spot Leeds, as well as internationally. But the fulfilment of her bigger artistic vision is only about to happen..

KD: Welcome, Moorita! Seeing you prefrom as Medusa at the Double Whammy launch party at Sh! a couple of weeks ago reminded me just how many faces Moorita Encantada wears, and I would love to know, as I’m sure the readers would, how did you get involved in burlesque, and why burlesque specifically?

Moorita: Close to two years ago now I went through a moment of a creative low. I was doing well at work but I was still imagequite disappointed with myself on the whole. I felt like the best part of me was dying, and if I wasn’t going to do something about it soon enough, it might be gone forever. I remember walking past Cafe de Paris in Piccadilly Circus and deciding I was going to find out how to become a showgirl. One thing led to anther, I enrolled on a burlesque course, created my first act, then another and started performing in London and beyond. The rest is history.

Moorita 11At first burlesque was an just a liberating adventure, but soon enough I understood it offered a unique opportunity for boundless artistic expression. Fully embraced burlesque equals classical theatre minus all social taboos. On top of this, even though I don’t see myself as a feminist, I enjoy the feministic taint of burlesque. Socially, we are presented with many conflicting ideas of who and how we should be as women. Performance art, and burlesque in particular, allows us to redefine, in an as radical a way as we please, what femininity means to every single one of us.

KD: I’m over the moon that you chose me to collaborate with on this wonderful project of ours, the burlesque play, The Eye of the Beholder, but I’m sure I’m not the only one who’d love to know what inspired the idea of a burlesque play, which as far as I know is very unique.

Moorita: I’ve always firmly believed that there is more to burlesque than vintage bras and fake jewels, I saw it as theatre and cabaret’s bastard child, with enormous potential. Seeing Howard Wilmot’s “Burlexe” (not quite a “burlesque play” but so much more towards the medium of the theatre than anything else on the scene) was to me the proof that burlesque audience is ready for a different quality of experience.

Moorita 10Even though our project is quite unique, there are several outstanding performers on the scene whose acts focus on the dramatic and story driven side of burlesque, such as Audacity Chutzpah or Shirley Windmill. Others I admire have a clear identity (or “edge”) and share my belief that the boundaries of burlesque can be stretched as far as one pleases: Miss Jones, Vivacity Bliss, Lolo Brow, Rubyyy Jones, Miss Cairo Mascara, etc. These performers, and others, contributed to my deep conviction that burlesque is an incredibly powerful performance art, the potential of which is really quite unexplored.

Finally, and most importantly, your skill as a writer, and your hugely empowering energy KD – as well as your pursuit of deeper meaning of erotica – convinced me that this partnership is a unique opportunity to create something outstanding.

KD:  Wow! Thanks, Moorita. *Smiling ear to ear* You made my day!  I’ve watched a good bit of burlesque, and I’d have to say your performances are not what I think most people would consider conventional burlesque. Forgive me if that statement is a bit of an oxymoron, but your performances tend to be both gritty and funny as well as amazingly beautiful, even moving. Can you tell us a bit about your approach to burlesque?

moorita 13Moorita: The funny thing is that even though I have an appreciation of classical burlesque – pinup, cheesecake, retro sirens, vintage lingerie and loads of rhinestones – and love watching it performed well, I’d never do it myself. I guess that because of my theatrical and musical training, most of the time I simply don’t find it challenging enough (and it’s at an intersection of outstanding creativity and a healthy challenge that really interesting things tend to happen).

In short, my acts are like Marmite – you will love them or hate them. I’m fully into risqué, intellectually provocative entertainment blurring the boundaries of artistic genres.

I’ve been told it’s my stage presence, energy, original, wacky ideas and good singing voice that make my acts demand an audience’s attention.

I think I’m a relatively talented comedienne (though I know many people who would outshine me!) and I usually seek a deeper meaning through story based performance. Even a simple burlesque act would usually be inspired by an insight, or a snapshot of a little fragment of reality, appropriately zoomed in and cropped.

KD: I know how exciting I’ve found this collaboration of ours to be, and how full of surprises, but I’d like to hear how you feel about it and what surprised you most, what excited you most, what’s been the most difficult?

Moorita: Wow, that’s quite a lot to think about!

Moorita 7In terms of surprise, I’m still bewildered that we actually made it happen. As they say, ideas are worthless and execution is everything. When we first started talking about the project, the idea in itself seemed amazing but it would have amounted to nothing if you hadn’t had lots of creative energy and found time to write it, and I hadn’t done pretty much the same to stage the “Medusa’s liar” scene.  Now that we’ve managed to execute on the idea, I’m proud and impatient to see it come together  wholly.

I was really excited while in the process of brainstorming the story and the staging of it when we first started. I adore that creative high, particularly if it happens between two people on the same wavelength, artistically speaking. I was  even more excited on the 20.04 though, while performing at Sh! It’s amazing to see a more or less abstract idea come into flesh in an interaction with real audience. I felt the energy flowing between all of us, it was one of those rare moments I felt totally aligned, doing the right thing, at the right place and in the right time. I’m sure you’ll understand what I’m talking about when I say it felt like getting a little wink from the Universe, as if to say “good work girl!”.

As is generally the case with ambitious projects people undertake, the most difficult were moments of self-doubt. Before the play was even written I hadMoorita 3 at least two established promoters wish me luck and say that in their opinion a “burlesque play” would never work. Consequently, once the first draft of the script was ready, I was impressed but at the same time overwhelmed by the thought of what an incredible challenge it was to get it all on stage! I could picture beautifully written scenes and well constructed characters in my head and I fully realised what talent, effort, and logistical challenge it was to make it all happen in the real world.. It was scary.

Now that I got my proof that the audience will love “The Eye of the Beholder”, I just want to move on with the rest of the play. I’m still aware of how much work it will take to complete the project, only now I actually look forward to getting it done! I guess I learnt that little internal critic insisting that “it can’t work” is the only enemy that really matters.

KD: Wow! Thanks so much for sharing your journey and your insites, Moorita. And thanks for sharing the adventure with me. It’s been a wild ride, and I venture to say, it’s just beginning.

Join us next Saturday for Part 2 of The Many Faces of Moorita, and more about The Eye of the Beholder.

 

 

 
© 2018 K D Grace
The Romance Reviews

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