Velouria by House of Burlesque ★★★

It may be autumn and freezing outside, but inside Arches Lane Theatre, things are sizzling. Velouria, a brand new creation by House of Burlesque, is bold, funny, and unapologetically feminist. It is a glittering celebration of womanhood with diamonds sparkling and nipple tassels twirling, and every performer owns the stage with confidence and joy.

House of Burlesque has been a defining force in UK burlesque for over a decade. Founded and directed by international showgirl Tempest Rose, the company first gained acclaim in 2010 with Circus Burlesque, selling out Edinburgh’s Assembly Rooms and winning Pick of the Fringe. Productions like Shipwrecked and House of Burlesque 2.0 have toured theatres nationwide, blending satire, social commentary, and showgirl glamour. Meanwhile, Burlesque Idol, now in its 14th year at London’s Hippodrome Casino, continues to discover and nurture new talent. This legacy of creativity, risk-taking, and empowerment forms the backbone of every performance.

This latest show, Velouria, boldly prefaced by the phrase ‘well-behaved women seldom make history’, is full of energy, mixing comedy, tease, and contemporary flair. Compere Tempest Rose is sharp, warm, and effortlessly funny, leading the audience through the rituals of whooping, hollering, and foot-stomping with ease. Alongside her, the bawdy and foul-mouthed Nell Gwynn keeps the audience entertained and assists with any hollering and whooping.

The performers themselves are fierce and highly skilled in the art of the tease, embracing their bodies with pride and confidence. A particularly memorable moment comes from the pregnant bombshell, whose act embodied strength, sensuality, and the creative power of womanhood. There is a sensational moment in which one of the dancers frolics in a martini glass covered in blood, though which historical figure she represents remains a mystery; each performer dances a vivid, theatrical spectacle with elements of shock, humour, and visual flair. Watching these women reclaim their bodies on stage is not just entertaining; it’s inspiring. Bring your friends along, and you leave the theatre laughing, cheering, and feeling a little taller and bolder, sharing in the empowerment of seeing women celebrate themselves without apology.

The evening is sold as a “sumptuous celebration of the bad women of myth and history”; this concept leaves more to be desired, with some references too subtle to land. Beyond Marilyn Monroe’s birthday serenade, a break-dancing Margaret Thatcher, and the aforementioned martini-glass moment, a few extra introductions and clearer references are needed to help clarify the narrative.