Finucane & Smith’s The Exotic Lives of Lola Montez

After a tour of the goldfields and various interruptions and cancellations, The Exotic Lives of Lola Montez comes to Melbourne, the very place where the legendary Lola received such a rapturous reception – from some - back in the 1880s…  The Argus newspaper called her performances ‘utterly subversive to all ideas of public morality.’  Just the kind of criticism to guarantee a box office smash. 

Played with indefatigable gusto and amazing skills by the multi-talented Caroline Lee (is there anything she can’t do?), Lola tells us her story from the Ireland of her birth, and on to India, Bavaria, Paris, the United States and… Australia in the gold rush 1850s – and back to the USA. 

But please note the plural in the title: ‘the exotic lives of Lola Montez.’  In Jackie Smith’s text, Caroline Lee’s Lola is mischievous, devilish and flirtatious as she revels in the ambiguities, the myths, legends and tall stories that have been added to the story of her remarkable life.  Yes, it’s generally agreed that she was the ‘consort’ of Ludwig of Bavaria who made her Countess of Landsfeld.  And, yes, every version of the story tells of the horsewhipping she gave the editor of The Ballarat Times – for a bad review.  But was she really showered with nuggets by the miners?  Was her infamous Spider Dance really ‘the most libertinish and indelicate performance’ – according to the Sydney Morning Herald in 1855 – simply because she merely raised her knee-length skirts to reveal that she wore no underwear?  (In 1855, most women wore no underwear, but for the stitched-up society of the time, especially sex-starved miners, it was thrilling to have that confirmed.)

Whatever is the truth of these sundry tales, Finucane and Smith’s purpose is, of course, to celebrate Lola, a showgirl, a libertine, a courtesan, a free woman before her time – a survivor until, perhaps, her way of life caught up with her, dying at thirty-nine.  Well, maybe thirty-nine.  Or older, or much older.  Her age at death is another of the myths that have accumulated – and Lola delights in that too.  She was a woman who travelled the world, fearlessly living possibly on her wits rather than her skills as a dancer, parlaying her voracious sexuality into fame and fortune via multiple marriages and numerous wealthy lovers.  Famous?  Or more exactly notorious?

Lola tells us her story from an elevated stage originally designed by Tear It Up Design (Vanessa Fernandez), backed by curtains of dusty reds and golds that suggest the rough 19^th century goldfields theatres or Wild West Saloons (where Lola also performed) and Gillian Schwab’s original lighting design evokes the flickering footlights.

But this is a Finucane and Smith show so Lola’s narrative is interpolated with show stoppers supplied by the Lovely Lolettes – burlesque routines by buxom Miss Maple Rose, who strips and treats us to a fan dances, and some cheeky drag burlesque from supple Iva Rosebud – plus soaring operatic snatches from Piera Dennerstein.  This is fun and funny although the connection to Lola’s story seems more thematic than illustrative – until the climax when these elements are interwoven, crucial and central.

Naturally, we expect to see the infamous Spider Dance – of which no film or photographic record exists, so Smith, Finucane and Lee must rely on mostly disapproving newspaper accounts of the time.  Instead we get a joyful, defiant display of the female body – an innovative demonstration of freedom, pride and the absence of shame – the very elements, among others, that have garnered Finucane and Smith awards all over the world.

Burlesque is by now knowing, camp and faux wicked.  The Loft theatre at Chapel off Chapel was sold out on opening night and quite clearly the packed house of fans and supporters loved every minute.

Michael Brindley    

Photographs: 3 Fates Media