When award-winning performer Winchester Angel steps up to produce her first show, you know it’s going to be nothing short of spectacular. Little Monsters – A Burlesque Tribute to Gaga is an unapologetic celebration of Lady Gaga’s diverse discography, iconic fashion, and fearless artistry. A sold-out affair at Adelaide’s rooftop haven Nineteen Ten, the evening pays homage to the pop provocateur who inspired Winchester Angel to first step into a burlesque class. Gathering some of the city’s finest drag, burlesque, and fire artists in a tribute that is as bold, eclectic, and genre-defying as Mother Monster herself, Winchester curates a night that traverses Gaga’s many eras: from disco sticks to jazz standards, cowgirl grit to chromatic fire. Hosted by longtime local legend Letitia Stitch, Little Monsters is an ensemble love letter to an artist who taught the world how to be fearless, fabulous, and freaky.
To the pulsing beat of Heavy Metal Lover, the full cast—including stage kitties Skyler Moon and Aspen Velour—makes their entrance in a black parade of lace, leather and mirrorball police caps. They weave through the crowd, teasing the audience with a preview of what’s to come before assembling on stage for a slick, sultry group floorwork sequence. Then, in strides hostess with the mostess Letitia Stitch in a scarlet sequinned gown and towering rhinestone crown; a gleaming homage to Gaga’s iconic 2009 VMAs look. With that, the tone is set: theatrical, provocative, and unapologetically Gaga.
Flirtatious firecracker Charli Chase sparkles onto the stage in a silver mirrorball mini dress with feather fringing, catching every spotlight beam as she dances to Eh, Eh (Nothing Else I Can Say) from Gaga’s debut album, The Fame. As the track segues seamlessly into LoveGame, Charli sheds the dress to reveal a dazzling three-piece set and wields a “disco stick” with playful authority. She performs delicate yet daring legwork, even balancing her mirrorball hat on her toes mid-floor routine. An emerging talent, Charli radiates the confidence and polish of a performer well beyond her years. She’s not just playing the LoveGame, she’s winning it.
Channeling disco queen decadence with a touch of dark fairytale, Davina La Vixen emerges from behind sweeping blue feather fans held by castmates Charli Chase and Winchester Angel, wearing a disco masquerade mask and thigh-high PVC boots as the instantly recognisable beat of Paparazzi begins to play. She captures the spotlight with graceful fan work before shedding her mask, revealing her true “Poker Face” – one that radiates power, presence, and polish. Just as you think she’s done teasing, she inverts herself into a headstand centre-stage and begins to undulate her legs like serpents in slow motion, an unexpected flourish that blends circus, sensuality, and Gaga-worthy audacity. Her climactic costume reveal is veiled behind feather fans, giving us the old-Hollywood-meets-Haus-of-Gaga fantasy we never knew we needed.
Brazilian Drag Queen Donatella Valentino channels the religious rebellion of Alejandro, appearing as a gothic nun in a floor-length white gown emblazoned with a red inverted cross. Sunglasses, crimson lipstick, and a sheer veil complete the look, and it’s giving Gaga meets Gaultier. Her choreography is tightly finessed, with razor-sharp lipsyncing and deliberate flair. As the final chorus erupts, she tears away her gown to reveal a sheer black sequinned bodysuit and clutches a silver cross, ultimately dangling it provocatively from her lips. It’s sensual, sacrilegious, and absolutely sensational.
Circus queen Ariel Drop’s act begins with the twang of You and I, but quickly transforms into a full-blown riot of movement and meaning. Donning a black PVC skirt and shimmering bolero, Ariel peels off layers to reveal shorts emblazoned with “F-A-G” in bold block letters – a moment of reclamation met with raucous applause. What follows is a jaw-dropping display of physicality in the form of backflips, cartwheels, and tumbling choreography as Judas surges through the speakers. In between acts, Ariel lip-syncs to Gaga’s powerful speech from her 2012 Moscow concert, where she publicly protested anti-LGBTQ+ laws and fiercely proclaimed the iconic phrase “Arrest me, Russia!” As Born This Way erupts, Ariel re-emerges centre stage, now draped in a vibrant rainbow boa, the colours catching the lights like a technicolour daydream. Their final flourish is less a bow and more a battle cry, echoing Gaga’s legacy of love and fearless self-expression.
Roxie Bordeaux surprises the room with a live rendition of Bad Romance, reimagined as a slowed-down, jazz-infused ballad. Dressed in a burgundy mermaid gown with Art Deco-inspired detailing, she croons with sultry ease, transforming the iconic anthem into a smoky nightclub lament. Seamlessly merging classic burlesque elegance with Gaga’s theatricality, Roxie’s voice is nothing short of enchanting as she turns the hit into a romantic love song. The vulnerability she brings to the performance is a testament to her vocal talent and her ability to truly own the stage. This new musical venture suits her, and the audience is here for it.
Athena Darling’s performance is pure camp, a tongue-in-cheek homage to Gaga’s ARTPOP era. Performing to Venus whilst draped in celestial sequins, Athena is serving otherworldly camp with their signature draglesque flair, playing up to Gaga’s diva persona with larger-than-life expressions. Beneath their hi-lo silver gown is a purple clamshell bra worthy of Botticelli’s brush – a fitting nod to the track’s name. As the soundtrack transitions into G.U.Y., Athena hits the floor with a fluid, raunchy routine full of exaggerated expression and controlled chaos. Larger-than-life and lit from within, Athena gives ARTPOP the energy it deserves.
Of course, no Gaga tribute would be complete without a performance from the producer herself. Dripping in sequins, red thigh-high boots, and a hat with fringe for days, Winchester Angel takes the stage like a rhinestone cowgirl to the country-esque tune of John Wayne from Gaga’s album Joanne. Her signature floor work flows seamlessly into a fiery spectacle (quite literally) as she brandishes two blazing batons. From fire eating, to passing flames from palm to palm, Winchester showcases the full range of her artistry with dazzling control. It’s Gaga meets the Wild West – think Joanne, but make it burlesque.
Looking every bit the Babylonian beauty, Eve Elle commands the stage with the regal presence of a high-fashion goddess as Babylon from Gaga’s album Chromatica pulses through the room. Draped in a bronze iridescent gown that catches the light with every deliberate step, her lip-sync is poised and impeccably timed, every gesture dripping with attitude and emotive subtlety. Eve’s performance balances strength and sensuality, her confident strut and expressive gestures turning the rooftop bar into a temple of worship. The act culminates in a breathtaking moment as she slides gracefully into the splits, a flawless display of flexibility and control that seals her commanding hold on the crowd.
Remi Reign brings old-school glamour to new-school Gaga with a sensual, slow-burning medley of It’s De-Lovely, Anything Goes, and I Can’t Give You Anything But Love from Gaga’s jazz album in collaboration with the late Tony Bennett, Love for Sale. Dressed in a black lace gown and white faux fur stole, she delivers a textbook tease, each peel impeccably measured, each twirl utterly hypnotic. Her final flourish atop the piano, complete with a stocking peel and classic tassel twirl, is the very definition of timeless burlesque. The spirit of Gaga and Tony Bennett’s jazzy collab lives deliciously in every move.
Returning for round two, producer and performer Winchester Angel transforms into a feline femme fatale for two of Gaga’s most recent hits Killah and Abracadabra, from her latest experimental opus, MAYHEM. In cheetah print and black fur trim, she prowls from the bar to the stage, stripping layers with fierce intent. As Abracadabra pulsates through the speakers, she sheds her blonde bob to reveal fire-red waves, weaving through the crowd like a feline force of nature. It’s a captivating crescendo that leaves the audience spellbound, a perfect embodiment of the show’s tribute to Gaga’s fearless reinvention.
Though she’s spent most of the evening as the razor-sharp host and glamorous glue holding the show together, Letitia Stitch decides it’s her time to play, slipping from the mic and into the spotlight. Decked in a black and neon-green plaid ballgown, she tears it away to reveal a matching fringe set beneath as Perfect Celebrity transitions into Disease. Midway through the act, she tears off her black bob wig to reveal long flowing blonde locks underneath, shaking them out like a rock star mid-rebellion. With dramatic pheasant fan work and her ever-commanding stage presence, she leaps into Nineteen Ten’s iconic bathtub, drenching her hair and sending water flying into the front row aka “splash zone”. With the showerhead streaming and music soaring, she delivers one of the most unforgettable finales of the night. It’s messy, marvellous, and magnificently Gaga.
For Winchester Angel, Lady Gaga was the spark that ignited her career. And now, that inspiration has come full circle. Little Monsters – A Burlesque Tribute To Gaga showcases the sheer power of Lady Gaga’s influence, and how it continues to inspire the next generation of artists and performers. In this chronology of Gaga, each act honours a different facet of her dynamic discography and career, exploring her vulnerability, her provocation, her power, and her unapologetic embrace of identity in all its kaleidoscopic forms. Winchester Angel’s debut as a producer is a triumph: ambitious, full of heart, and brimming with creative vision. Whether you’re a lifelong “Little Monster” or only know of Gaga’s greatest hits, the show delivers the kind of energy and creativity anyone can appreciate. Even if you didn’t walk in a “Little Monster”, you might just leave as one.
Little Monsters – A Burlesque Tribute To Gaga
Date: Friday 1 August 2025
Location: Nineteen Ten, Rooftop/143 Hindley Street, Adelaide SA 5000
Rating: ★★★★½
The Adelaide Insider 