Accidentally walking in on Catherine the Great using shadow puppets to discuss ‘swamp donkeys’ and phallic obsession is one experience I’d never have dreamed of, and yet it is just a hint of what lies waiting within The Living Museum of Erotic Women.
The brainchild of Willow J Conway, the museum seeks to capture the image, essence and history of famous – and infamous – women of erotic and sensual lore. The second iteration of The Living Museum, having premiered last year through the Bottoms Up! Burlesque school in conjunction with Tied Together, the experience has been tweaked and updated to take advantage of the unique layout of the building and spaces.
Staged over five levels (including inside a repurposed Melbourne tram), museum goers are encouraged to slowly wander through every nook, cranny, and intricately framed stage, courtesy of the brilliant set designer Tim Burgin. As with all museums and galleries, look but don’t touch. Those who break this simple rule will be dealt with by the Egyptian God Set – at least according to Isis, our master of ceremonies for the second program. The same cannot be said of the exhibits who move freely and interact with any and all observers. Beware of Messalina – she collects hats and scarves.
From Joan of Arc and witches to Frida Kahlo and Busby Berkley musical numbers, the spectrum of femininity and nature of eroticism is explored, experienced, and at time confronted. My personal favourite, The Venus of Urbino, is comparable only to a painting in the National Gallery coming to life and giving a personalized tour.
The whole experience is broken down into two programs, each with its own unique array of exhibits and host, ensuring that no two experiences will be the same. Unfortunately, The Living Museum suffers from the same fate as all galleries. With so many displays and hidden exhibits to be enthralled with, it is difficult to see everything in one sitting (was gutted to miss the Mata Hari perform). Luckily, this just provides an excellent excuse to come again.
The labour of love is evident in every aspect of The Living Museum, and special thanks must be given to Bernie Clifford and the hard working people of Bernzerk Productions along with cast and crew for making the experience possible. The extraordinary efforts and phenomenal attention to detail for costumes and make-up, by Laura Malia Pearse and Alejandrina de la Rose respectively, also deserve special mention. In using bodies as canvases, collaborating with performers and returning to source material, they must be commended for bringing these women and their eras to life. A must see for lovers of burlesque and all cinephile, theatre and historically erotically inclined individuals. Best enjoyed with a wine or one of their special Wet Pussy cocktails in hand.
BY MATT CAMERON-ROGERS
Photo by Angle Leggas
