In a heartfelt reflection on the legacy of the enchanting showgirl culture, Dita Von Teese reminisces about her cherished experiences attending the Jubilee in Las Vegas during the ’90s and 2000s. Describing it as one of her favorite things to do, Von Teese fondly recalls elaborate scenes from the production, including one that portrayed the sinking of the Titanic.
Yet, for many, including myself, the opportunity to witness this iconic show passed us by. Growing up in a Catholic household, my parents viewed the topless performances of such shows as inappropriate. By the time I could have ventured out to see a production, Jubilee had already closed its curtains for good in 2016, marking the end of an era that celebrated the art of the classic showgirl since the 1950s.
As one chapter closes, however, another opens. Von Teese, a pioneer of modern burlesque, has brought her own interpretation of this cultural phenomenon to the Las Vegas Strip. She initially showcased her talents at the Horseshoe in the former Jubilee Theater and is currently enchanting audiences at the Venetian.
Von Teese emphasizes that her show is not just a replica of the classic Jubilee. “I never claimed to be fully creating a replica… I have a different outlook on it. But I do respect it very much,” she stated in an interview.
Her current burlesque show, which debuted in September 2024 at Voltaire and has enjoyed an extended run through October, features the original opulent costumes worn in Jubilee, making it perhaps the closest experience to a showgirl spectacle currently available on the Strip.
Beyond Von Teese’s production, topless revues like Fantasy at Luxor and X Burlesque at Caesars Entertainment properties continue the tradition of showgirl performances, embracing one of the essential attributes of the classic showgirl: her bare chest, sans pasties. Other productions, such as Vegas! The Show, also honor the showgirl legacy, albeit in a supporting role.
A resurgence of recognition for showgirls has taken place over the years, with National Showgirl Day being designated on May 24. This initiative, spearheaded by Fantasy producer Anita Mann, was recently celebrated by generations of showgirls at Luxor’s Atrium Showroom. Additionally, the beloved Crazy Girls statue, a bronze homage to thong-clad dancers that previously welcomed visitors to the Riviera, has emerged from storage and found a new home at Circa Downtown.
Showgirl imagery remains prevalent in Las Vegas and popular culture, highlighted by YESCO’s installation of towering showgirl figures at the Las Vegas Boulevard Gateway Arches. The Golden Knights feature the Vegas Belles, while showgirls made a striking appearance in the Killers’ music video for “The Man,” and even Taylor Swift paid homage to their spirit in naming her upcoming album.
Despite the widespread appreciation for the showgirl, the question remains: are we accurately honoring her legacy?
The essence of the authentic Vegas showgirl is captured in Gia Coppola’s forthcoming 2024 film, The Last Showgirl, which depicts a narrative intertwined with the closing of Jubilee. The film’s young showgirls grapple with their future as the iconic Razzle Dazzle show faces closure. Shelly, portrayed by Pamela Anderson, epitomizes the older generation’s dedication, lamenting the perceived decline of Vegas’ heritage.
As the younger cast members question what distinguishes Razzle Dazzle from its competitors, Shelly passionately asserts, “This show’s famous. It’s just tradition. It has roots in France. It’s the last remaining descendant of Parisian Lido culture… The glamor is undeniable.”
But what does this tradition signify for younger generations less familiar with the classic shows? The concept of showgirls is rooted in history shaped primarily by white men—the entertainment executives and casino owners of early Las Vegas. Historical photographs from the ’50s showcase a predominantly white ensemble of showgirls, with limited representation for performers of color, who were often relegated to performances in separate venues until the early 2000s.
Requirements for entry into the showgirl realm were stringent. Women seeking to be hired needed to be at least 5-foot-8, with a specific adherence to physical ideals, ensuring they could wear the elaborate costumes that characterized the art form. Application forms included questions about age, weight, hair, eye, and skin color, along with measurements for bust, waist, and hips. In 1981, personal appearance notices indicated that maintaining these standards was non-negotiable.
Grant Philipo, CEO of the Las Vegas Showgirl Museum, provides important context on the definition and evolution of a showgirl. He insists on the necessity of being topless—a tradition that has roots dating back to the 1800s. “If you want to say, ‘She’s showing and she’s a girl, so she’s a showgirl,’ that is a different category,” Philipo elaborated.
Mislabeling clothed performers as showgirls emerged from how shows marketed themselves. Often, walkers—tall, fully clothed women—would dominate promotional material rather than the performers with more revealing costumes.
While some may reference the El Rancho Girls or Copa Girls of the past, who also performed in minimal attire, Philipo asserts they should be recognized as chorus girls rather than showgirls. He adds that true showgirl productions featured a cast that adhered to more specific criteria, and not every performer fit that title.
The emphasis on glamor in showgirl performances was communicated through extravagant costumes and elaborate sets. According to Philipo, some of the costumes in Jubilee cost upwards of $50,000, with multi-million-dollar productions being the industry standard.
Bringing a French influence into the mix, the Las Vegas showgirl was further shaped by the historical successes of productions like Minsky’s Follies, which introduced topless shows to the Strip in 1957. The trend continued with productions like Lido de Paris and Folies Bergere, ensuring that the showgirl’s identity blended classic French aesthetics with Las Vegas razzle-dazzle.
The traditional Las Vegas showgirl was defined by strict expectations: beauty, youth, height—and an affinity for French-inspired spectacle. However, as the preferences of audiences evolved, so too did the showgirl. Adapting was essential for survival.
Philipo reminisced on a time when Las Vegas was home to an abundance of stage productions, with shows running all night long. In the past, venues vied for attention by providing top-notch entertainment, a stark contrast to today’s landscape where financial constraints often dictate the quality of performances.
The evolution of showgirl productions has been characterized by changing themes, music, and choreography over the decades. Anita Mann recalls how her show, Fantasy, has transformed since its inception in 1999. “When I started, it was more traditional. But as the show evolved, the costumes became less practical for full choreography, so I started making changes to the cast and routines,” she said.
Unfortunately, the grandiose showgirl spectaculars—those magnificent productions filled with breathtaking headdresses—have been deemed outdated and financially impractical. The closure of the Folies Bergere in 2009 marked a significant turning point, coinciding with the global financial crisis.
Von Teese reflects, “That era of spending millions on costumes is finished. You’ll never find someone investing that much in beautiful costumes with 40-ply ostrich [feathers] again. It’s challenging to conceptualize a new production of that magnitude in today’s economy.”
Although the traditional formulas for showgirl performances may be antiquated, the spirit of their artistry endures. Von Teese’s current show embodies elements of the classic showgirl while also daring to break away from tradition and embrace modern sensibilities.
“I really love all of the different rules that the showgirls have. I went deep into the history to understand where I wanted to break the rules while still honoring them,” she shares.
In her burlesque performance, Von Teese pays tribute to showgirl aesthetics through the use of extravagant costumes designed by renowned designers Bob Mackie and Pete Menefee. These costumes are often adorned with crystals and feathers, showcasing the continuity of the showgirl legacy she intimately respects.
A stage set reminiscent of the famed Jubilee productions, with its iconic staircase, and nods to the history of Las Vegas through reinterpretations of classic numbers, creates a unique experience. Von Teese explained how the costumes were neglected before her show, describing an encounter in which she found them in disarray, “dead cockroaches everywhere,” but ultimately revealing their potential to inspire anew.
Bringing these costumes to life symbolizes both the craftsmanship of previous generations and the empowerment derived from the artistry of performance. Von Teese likens wearing the costumes to embodying the spirits of the women before her: “Their skill, strength, and perseverance live on through me.”
When she donned the costume for the first time, Von Teese confessed it was a challenge—owing to the stature of the costumes designed for taller performers. But she embraced the difficulties of performing in such intricate attire, maintaining, “Anything worthwhile is hard at first.”
Challenging traditional notions, Von Teese’s show integrates elements of burlesque—a celebration of human form and playfulness—that contrasts with conventional expectations surrounding showgirl performances. The catwalk at Voltaire offers an opportunity for performers to connect with the audience intimately, breaking down barriers while maintaining the opulent aesthetic.
As Von Teese innovatively reframes what it means to be a showgirl, she advocates for the inclusion of diverse performers who transcend previous limitations on height, weight, and age. By embracing a multicultural cast comprised of varying sizes, she seeks to redefine the legacy of the showgirl while maintaining its essential glamor.
Even if her show may not emulate the extravagant productions of the past, Von Teese remains committed to preserving the essence of the showgirl identity within her performance. “I wish someone would create an astonishing, fully-fledged revue the way it used to be. However, it requires substantial investment to achieve that level of spectacle,” she noted. She emphasizes that the impressive scale of shows contributes to the magic of the experience, making it a cherished spectacle in audiences’ minds.
Philipo warns that Las Vegas has shifted away from the supportive culture that traditionally nurtured showgirl productions. As nightclubs have emerged and family-friendly entertainment gained traction, the landscape for showgirl revues has altered considerably, leaving less room for the extraordinary performers who once defined the city’s entertainment scene.
Reflecting on the industry’s evolution, Philipo conveys how the motivations behind entertainment have shifted from providing exceptional experiences to extracting maximum profit from visitors. “Hostility towards patrons has replaced the desire to enrich their experience.”
The decline of traditional showgirl performances signals a significant cultural loss—not just an economic one. The values of beauty, glamor, and empowerment embody the indispensable qualities that showgirls have represented throughout history. Advocates in the entertainment world cling to the essence of these values as they mourn the passing of iconic productions like Jubilee.
Philipo strives to preserve the showgirl legacy through the Las Vegas Showgirl Museum while planning to introduce a classic revue back onto the Strip once a public venue is established. He remains passionate about the contributions showgirls have made to Las Vegas, stating, “When someone thinks of Las Vegas, the showgirl is the icon that comes to mind. I am committed to ensuring she is not forgotten.”
Beyond serving as professional entertainers, many showgirls have also made significant contributions to the broader landscape of the city’s entertainment scene. Angela Stabile, a former cast member of the Crazy Girls show, embodies this legacy as she reflects on her experiences working through school while performing. “X Burlesque incorporates a tribute number to showgirls, featuring costumes reminiscent of the iconic Jubilee style. It’s fundamental to recognize that Las Vegas would not be the same without the showgirl—and they are still here, evolving with time.”
The enduring image of the showgirl lives on, deeply embedded in cultural memory. Both the impact of the showgirls and the transformations they sparked have changed lives across generations.
In The Last Showgirl, Shelly’s deep emotional connection to the show reflects a universal sentiment shared by many performers. She expresses how her life revolves around her work: “I love the show. I feel so good about myself in the show. The costumes, the sets, being bathed in that light night after night, feeling seen, feeling beautiful. That is powerful. And I can’t imagine my life without it.”
With such poignant words, the film encapsulates the enriching effects of being a showgirl—a transformative experience integral to their sense of self-worth.
Mann voiced similar reflections during the celebration of National Showgirl Day, emphasizing that showgirls symbolize empowerment and beauty. “They embody the strength and courage to say, ‘This is beautiful. I feel elegant and beautiful; I want other women to aspire to that too.’”
The legacy of the showgirl continues to be a powerful reminder of the enduring connection between artistry, identity, and the values of empowerment.
image source from：lasvegasweekly
