Issue link: https://digital.copcomm.com/i/1536052
constructed puppet the dancer operates). Malia Harmon was on the lookout for a new way to exercise and found herself learning lyra (aerial hoop) at LA's Cirque School. Edward Zarate, aka Malice Hyde, started performing in amateur drag shows. Lisa Gardner, aka Lisa Luxe, started as a model and found her way to being a stage kien (the burlesque term for stage manager). Rebecca Graves, aka Veranda Swing, saw a flier for burlesque classes, taught by none other than myself, aka Penny Starr, Jr. Whatever brought us to the stage, once bien by the live performance bug, it's hard to shake that feeling of connecting with an audience. A burlesque/drag/circus act is oen described as "Three Minute Theater" because you have to create a character and tell their story in the length of a pop song. Costuming is key and many performers make some parts of their costumes based on their skill set. As 705 members, we have a definite advantage. Playing in the world of glier, beaded fringe and rhinestones, even the costuming is not an everyday event. Rochelle says it's her "favorite part of performing!" Rebecca chimes in: "Since I am a Finished Costumer, when I work a union job, I only take care of costumes that are already made. When I get to make a costume for myself, I love to use my sewing and craing skills." My path to being a Custom Made Costumer started with making my own burlesque costumes, then making costumes for others. Even if you don't sew, 705 members have friends who do. Malia says, "I can hand sew, so I'll do finishing work and such, but I usually have my Local 705 friends make me pieces or they are store-bought and styled together." Or as Edward puts it, Have Glue Gun, Will Travel: "I'm an off-the-rack queen as I call it, but can also modify with your gun!" The allure of circus life, while working in our own "circus" environment of the film and TV industry is not for the timid! Rehearsing on the li gate at lunch, sewing during lighting setups, writing the fastest dry cleaning ticket in town to make your call time for your gig is what's required to work and perform. Edward says his most bonkers day was "having to juggle a crazy 12-hour workday on shipping day and have a show in the evening, while learning how to sew the same day." Aja echoes that while on set, "I had to do some stitching for a performance that I was in later that evening… Although it did not really affect my work, it did make it a lile hard to see in the dark when I can't have my headlamp on, but everything got done." When asked if she had any work/performance stories, Meredith replied, "When I interviewed for the job that brought me to LA [Head of Costume Cras at Los Angeles Opera], the opening question of my interview was, 'so, you're a burlesque performer?' My (future) boss had asked my (future) coworker to research me, and that was what she chose to report. It was extremely uncomfortable. But I got the job anyway." Being "out" at work can be a blessing and a curse. Malia has legitimate reasons for being out at work, "Circus and my Cirque School community are such an important part of my life, and I love to share it with people! I also have to explain all the weird bruises and rope burns in some way!" Rochelle wasn't so sure. "I wasn't very comfortable leing people know at first because I felt judged. A coworker 'jokingly' said I shouldn't tell people because it's 'sluy.' But eventually, I stopped caring what other people think and it makes me really happy and I don't think it's something to be ashamed of." Edward concurs: "I do feel comfortable. Doing drag taught me to be comfortable in my skin... If anything, I've been lucky to view it MOTIONPICTUREC O S T U M E R S .O R G 37