There is a charming honesty in Lilly Loca’s Vaudeville; her shows do not attempt to be complex, or to startle the audience with the unexpected. You can simply rock up, secure in the expectation of being dazzled and highly entertained. Frivolous Frivolity delivers everything her fans have come to expect from Lilly, a line-up of incredible performers served up in bite-sized yet appetising portions in a cheerfully risque atmosphere.

This is Lilly’s first show at Tapac, and my initial impression is that the Basement suits her better. The curved sweep of corrugated iron that dominates the foyer space doesn’t quite fit with the lush and ebullient nature of the show. By 7.40, once the space starts to fill, the buzz of the eclectic crowd overcomes the muted surroundings, helped by the presence of the gorgeously decorated Tattooed Lady and her elegantly corseted assistant. The sideshows, offering hairstyling by Live and Let Dye and high class face-painting courtesy of BodyFX provide an interesting addition to the show and attract plenty of eager punters.

Inside the theatre one slips into the performance world. The stage space, reduced with black drapes decorated with projected filigree is surrounded by tables. Even for those sitting in the stalls the space creates the atmosphere of a club rather than a theatre, especially once the three piece Jazz band The Spietatet start up. They play well together and create a mellow feel that draws you further into the mood. The only jarring note is a slight stiffness in the way they hold themselves.

Enter Patty Haag, attired in retina-burning pink and armed with glitter and bubbles, followed by the show’s creator and MC, Lilly Loca: black corset, long legs and a contagious enthusiasm that carries us through a somewhat convoluted introduction. The crowd is responsive, ready and eager to be entertained. The acts that follow are entrancing.

Opening the show is Jared Fell, “comedian and magician extraordinaire”. With rapid fire delivery, intense energy and a fine line in audience abuse, he soon has the house in stitches. Playing with audience expectations he fails to pull off trick after trick. You are in suspense, hoping that this is merely fooling and he’ll pull one off soon, but when he does it is from a completely unexpected direction. His return in the second half with his own version of Russian Roulette brings a frisson of danger and an extra edge to his show; he holds the audience in the palm of his hand.

Aerialist Ebon Greyman wows the crowd, first with a display of physical strength and grace in an aerial silks performance, followed by a poetry performance in the second half that surely sends shivers running through anyone with a pulse. Costumed like Pan, mounted on spring stilts and oozing animal magnetism from his every pore,  he appears almost too large to be contained by the stage. Sadly many of his lines are lost in the music.

Two burlesque dancers demonstrate the variety that can be brought to the art. Miss Anthropy’s cheeky take on the form, slowly washing off her painted garments, has the same teasing precision as Leda Petit’s more traditional performance. The second half culminates with these two gorgeous ladies in a strip-off, escalating into wrestling and ending with cream pies. Not surprisingly this is an audience favourite.

Contrasting their assured performances is Gary, the painfully inept and comically nervous geek. Appearing only in the second half, his skillful, if predictable, mix up of dance styles is appreciated. His rendition of “Macarena” and “I Touch Myself” in particular receive howls of encouragement.

Rounding out the evening’s entertainment we have Ngaire Chambers & Naureen Heathcott with their comically over the top, out-dated prejudices. Their un-pc relationship seminar is filled with ‘fun facts’ and provokes ripples of laughter throughout the performance. Their second act, a sequined dance number, contrasts their old-lady personas with some wickedly fluid hip action.

Spot prizes and a best-dressed competition before the interval contribute to the inclusive and homegrown atmosphere of the show, comfortable yet occasionally at odds with the expertise of the performers. Despite the loose weave of the transitions, occasional technical difficulties and a lengthy run time, Frivolous Frivolity definitely delivers a satisfying serving of fun.

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