Review: YASMINA INTOXICADA'S WORLD'S END CABARET a Post-Apocalyptic Popgasm! at World's End

Post-apocalyptic pleasures and visceral visual delights, Yasmina Intoxicada's World's End Cabaret was one heck of an end-of-the-world party. Featuring the Orsino Nation family, this show was a body-positive subversion of genres, where flautist bikies roam, flamenco fires rage and Sia-inspired styling is du jour. Where cabaret and burlesque have become predominantly ensnared in the Von Teese aesthetic, this is fresh self-assurance, self-sufficience and self-indulgence. Similarly where much of the work in the category choreographs with the male gaze, World's End was crafted to suit the jubilation of the performer, which made it incredibly enjoyable and made belief easy to suspend past the production values in the intimate space.

Of particular note were the vocal stylings, flamenco performances, costuming and props efforts. Those seeking a more humble experience requesting the suspension of belief, and the inebriation of the imagination are locals here. Where many performers rely on polish, World's End had real joy and heart, which was not only super entertaining, but dead sexy as well.

Tickets available here.

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