Crazy Horse Paris

Paris – that decadent city of haute couture and the Moulin Rouge, has a lot to answer for when it comes to celebrating the female form as art. French fauve impressionists Édouard Manet and Henri de Toulouse-Lautrec shot to prominence during the 19th Century, for their subtly erotic “L'art Du Nu” (Art of the Nude). Former courtesan “La Belle Otero” became the first actress to ever appear on film and allegedly, Burlesque found it's roots within Parisienne theater. “Folies Bergére” - the first cabaret all-female revue also opened within Paris in 1869, and was largely the inspiration for “Crazy Horse Paris”; a club and show which sought to revive the aging art-form in 1951. Since 2001, “Le Crazy Horse Paris” (formerly “La Femme” until 2007) has been astounding U.S audiences at the MGM Grand's appointed showroom. With it's subliminal dreams, interwoven with tease 'n' please soft erotica, it has sparked a revival of cabaret showgirl revues taking Vegas back to the glory years of entertainment.

It is widely affirmed that show producer Don Arden began the Sin City fascination with cabaret tease revues during the 1940's. However, across the “Pond” in Paris, a notorious artist and film-maker was also devising a show of “Lido de Paris” proportions. Alain Bernardin was fascinated with American cinematography, as well as the “L'Art Du Nu” movement – both passions which fueled his creative motivation for “Crazy Horse”. He sought to create an all-female revue that “exalted the female form”and experimented with the en vogue American lighting effects used within film. Within months of inception, the Crazy Horse Club (1951) opened at Avenue George V, Paris.

Much like the Folies Bergére venue, Crazy Horse quickly attracted attention for it's experimental nouveau theater. Bernardin sought to create such portent A-symmetric visual spectaculars, that his dancers underwent strict scrutiny and auditioning. All performers had to be 5'6” in height; of slender build; 34B bust and bear a navel to pelvic bone measurement of 18cm – so they “looked the same” on stage. Given the original intent for “Crazy Horse” to be a variety and vaudeville inspired act, this goes somewhat against the grain – but then, that's apparently how an artist's mind works. Its best exemplified during MGM Grand's intro for “Crazy Horse” when the 12-strong topless troupe command the stage as French soldiers. With intriguing “bar” lighting that creates horizontal and vertical lines across the shoulder-to-shoulder troupe; viewers barely realize the dancers are topless since the effects create a semi-clothed aesthetic.

From the 70's onward, the Paris arm of “Crazy Horse” enjoyed a world-class repute attracting celebrity musicians such as Elton John, coupled with screen-stars Pamela Anderson, Carmen Electra and the “Queen of Burlesque” - Dita Von Teese over the last decade. The latter three performed within the Paris show for limited runnings, while the Las Vegas revue boasts former Playboy “Playmate” Clair Sinclair, as a semi-permanent addition. She certainly lives up to her tantalizing repute, since she attacks her role as the “Teasing Tigress” with as much enthusiasm and energy, as you'd expect of a pole-dancing pro. The difference with Sinclair? Her newfound skills as a sultry aerialist, who can hang onto a swing with her little toe!

Anyone expecting “Crazy Horse” to be some throwback from the 1950's will surely be disappointed. Yes, the musical score is decidedly vintage and overtly French; sax-fueled numbers entitled "Leçon d'Erotisme", and big-band feat “Va Va Voom” definitely harking back to an older era. But the visuals? You might have seen strobe lighting in movies, but we doubt you'll ever have seen it utilized like this. The distinct timing, positioning and response to movement of the “Crazy Horse” strobes, creates a sparkling glitter-ball effect upon the bodies of two dancers intertwined within a huge metal sphere. Their slow, precise gymnastic movements co-ordinated so perfectly with the lighting, you have to squint quite hard to check it's two women - not some “magic eye” trick of the light.

Sadly, Alan Bernardin never lived to see his masterpiece debut in the “entertainment capital”, however his legacy has been propelled by the passion of his family - continuing his avant-garde brand of theater. The sequencing of the show has altered little from the Parisienne spectacle that has enchanted, and enraptured an audience of over 5 million. However the choreography continues to be refined by none other than Molly Molloy, the original creative director to Alain Bernardin himself. Encompassing the humor of vaudeville with the tease of Burlesque, “Crazy Horse” offers an artistic presentation of femininity and light, that could mean 'lights out' for many Vegas tease revues!