Considering the cyclical patterns of entertainment, art and societal trends, the resurgence of Vaudeville and the art of variety theater was inevitable. The Yard Dogs Road Show has emerged as a leader in the resurrection of carnival-like performance art. Having only seen the traveling group weaving in and around the crowd at summer music festivals, the chance to see their full act at the historic El Rey Theater in Los Angeles, Calif. was not something I could pass up. Judging by the plentiful population of funky and artistic souls in the crowd, clamoring for something uniquely new to their generation, I’d say the many members of Yard Dogs Road Show have found their place.
Visualize a crowd of Vaudeville enthusiasts donned in corsets, fishnet tights, mismatched plaid pants and black vests: Medieval minstrels with a Burning Man-style flair. These fans were not just your average concertgoers; clearly they felt as much a part of the performance art as the musicians and dancers themselves. The curtain raised and a woman with a feather headpiece emerged playing an old-timey French accordion tune. Six additional band members took their respective places on stage and launched into their captivating act. Members played the part of both actor and musician, each getting a turn in the spotlight once or twice during the hour-and-a-half show.
To break up the music and carnival tricks, a threesome of stunningly graceful burlesque dancers gave jaw-dropping performances throughout the show, changing their theme and ornate costumes each time. Perhaps the most artistic and amusing of these dances was a can-can number that began with the ladies dressed as life-sized Dia de los Muertos skeletons. Another dance involved the three as playful wind-up dolls ending with each ripping one anothers corset dress off. In true burlesque-fashion, feathers, sequins and glitter were in abundance throughout their performances. One of the dancers played a dual function as a hypnotic soloist belly dancer.
Another multi-talented group member served both as the percussionist and sword/object swallower. What would a Vaudeville act be without treacherous swallowing feats? At various points during the show, the comedic swallower broke away from his tattered pots, cowbells, vases and other odd percussive instruments, taking to swallowing a sword, chair leg and a long, potentially deadly red glow stick.
In between all of these acts, the band played songs spanning the 1800s to present rock n roll. The female trombone player, who also sang jazz-infused songs, offered a robust and deep vocal range that seemed the most polished of the group. On the whole, the music often served as scene or mood music for a particular act. The modern Vaudeville performance group was without a doubt, a visual and sensory circus, entertaining and holding the attention of most in attendance.
