Lady Boots is Aria's most extravagant creation. A moody, wicked, and clever classic act set to "The Man With the Golden Arm," the striptease features a one-of-a-kind trick-release corset dress, sanguine claw gloves, whirlwinds of silk and thigh-high fetish boots. Watch the act!
Aria's peacock is a caricature of the proud, illustrious bird. Preening and prancing, she flirts with the crowd as she strips down. You've never seen someone shake their tail feathers like this-- that's a promise. Set to burlesque standards Duke Ellington's "The Mooche" and Henry Mancini's "Hubcaps & Tailights," the number is cheeky, fun, and utterly glamourous. The act was awarded "Best Debut" and "Most Classic" at the Burlesque Hall of Fame in 2018. Watch the act!
Heavy is the tale of a dark creature-- part bird of prey, part bird of paradise-- unfurling her wings and stalking her prey. Feathers shiver, beads sway, and a powerful gaze and strength in movement captivate onlookers. Moody, fierce and animalistic, this number set to The Beatles' "She's So Heavy" brings the strange taste of fear and arousal to your tongue. This act was presented in the Queen's Competition at the Burlesque Hall of Fame in 2019. Watch the act!
ALL NIGHT LONG
This shimmering blue and silver act is classic Aria: elegance and mischief, shimmy and shake, and killer reveals. Set to Led Zeppelin's "You Shook Me," the dirty blues vibe is reminiscent of late nights with strong drinks and stronger women. Watch the act!
Sirena is the vision of a sailor lost at sea. At first glance she is a mirage on the water, a Victorian beauty in marine tones, but expert derobing reveals a sea creature more monster than maiden. Sirena is inspired by fables of water nymphs whose seductive songs call sailors to their watery graves. Incredible handmade pieces by Miss Kelly and a choreography of spins and cartwheels create a majestic number sure to dazzle. Sirena is set to "My Body is a Cage" by The Arcade Fire.
An homage to Aria's favorite dead diva, Voluptuous Panic brings both Weimar Berlin and erotic dancer Anita Berber back from their rest. Existing in a space between performance art and burlesque, its tease has very little strip. To the crashes and crescendos of an abridged version of Tchaikovsky's "1812 Overture," the dance volleys between drama and ecstasy, with moments of comedy and a breathtaking presence throughout. Climaxing with a rose petal cannon, the piece never fails to bring the house down.
The name of this piece derives from literature by Mel Gordon, an expert in Weimar era art and Anita in particular.