On Stage: The Dirty Ball

I’ve been labeled a lot of things over the years. But there I was, “The ballsiest,” according to my pin I was given at Attack Theatre’s Dirty Ball, held last weekend in the combined space of the Sports Rock Cafe, Vegas on the Strip and Pharoah’s nightclubs in the Strip District (real bathrooms this year!). That meant that I had attended all five Dirty Balls “and counting”…

They were, from the start, a hit, from the first at an empty city apartment space, where the last-minute crowd overwhelmed the small food pickings. What made it such a success? Well, Attack managed to push all the right buttons. Just the very thought, a Dirty Ball, brings out the marginal badness that the usually conservative Pittsburghers harbor. It was seductive, from the dirty martinis to the dirty secrets, with a high fun factor.

Gradually the audiences have grown from the original 300 or so to more than 1000 this year. The audience is half the show, from teasing bustiers to full-fledged drag. But the Attackers themselves go all out to give attendees their money’s worth, so that it’s not only than a ball, but more like a site-specific performance. The deejays are always terrific and the drinks are included in the price of admission. Although the food always played second fiddle, although there were some downright tasty options this year.

For the VIPs, Richard Parsakian decorated a room with plush red and zebra-striped fabrics, along with deliciously naughty accoutrements. Dancers undulated in nooks and crannies there and in the other spaces, where I loved a display of stacked chairs.

Then there are the rolling showcases, 15 in all in honor of Attack’s birthday. Because the venue was separated into three rooms, the sometimes overlapping schedule kept the pace moving. So Michele de la Reza and company had to move easily from meet-and-greet to move-and-groove.

The company is flirting with nudity this season, partly because of its new home at Pittsburgh Opera in the Strip District and, of course, the idea of a birthday suit. Liz Chang came closest with a softly-lit solo. There were sexy duos, too, most notably between Peter Kope and Dane Toney , with some lotion andand a stripper pole and a menage a trois, deftly handled. Although hampered by some acoustical problems that muffled his transcendent talents, cellist Dave Eggar poured his talents into a rocking set, ably accompanied by percussionist Charlie Palmer.

The finale was spot on — “Dirty Dancing,” of course, with the women channeling their inner Baby and most of the women in the audience singing right along. Dirty never goes out of style.

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