The Adelaide Insider

Adelaide Fringe Festival is no stranger to glittering late-night escapism, yet Club Cartier: Ecdysiast offers something particularly indulgent this season. Produced by the ever-glamorous Gigi Cartier, this decadent showcase brings together a lineup of local and international showgirls for three nights of tantalising spectacle at the rooftop playground of Nineteen Ten. Hosted by pocket rocket MC Diamond X.O. of Aotearoa, the evening unfolds as a glitter-soaked parade of aerial antics, tassel twirls, and burlesque in its most sumptuous form. An irresistibly playful celebration of the art of the tease, Club Cartier: Ecdysiast proves that a little late night decadence goes down rather well with a glass of champagne or a cocktail in hand.

Opening the evening in crimson splendour is Annie Laine, a resident showgirl of the Crazy Horse Revue whose background as a gymnast is immediately apparent in the effortless athleticism of her performance. She sweeps across the stage to the vintage jazz tunes of Real Gone by Sam Taylor and The Stripper by David Rose, clad in a ravishing red rhinestone gown crowned with a towering feathered headpiece. The dress itself becomes part of the theatre. Two bows fastened delicately at the shoulders unravel slowly as she leans back into the audience’s grasp, revealing a baby pink and red fringed and rhinestoned ensemble beneath. With dazzling high kicks, splits and can-can inspired choreography, she evokes the spirit of a Moulin Rouge showgirl. There is a delicious sense of playfulness to her slow burn floor work, her cheeky grin holding the audience firmly in the palm of her hand.

Laine returns later in the evening with an altogether more ethereal mood, amongst the dreamy French pop musical backdrop of Les filles désir by Vendredi sur Mer. Draped in a cheeky shimmering silver ensemble and accompanied by enormous white and red feather fans, she glides through a routine that feels almost angelic in its grace. The fans sweep through the air like wings, at times coyly concealing her form before revealing it again in dramatic flourishes. Her floor work is both elegant and mischievous, legs kicking skyward as the plumes frame her body. When the music swells into a theatrical rendition of Non, je ne regrette rien by Édith Piaf, Laine discards the feathers for a triumphant finale of expertly executed tassel twirling.

Internationally recognised performer Fafi D’Alour brings a commanding energy to the stage with her first act, set to the swaggering groove of Vicious Cycle by Clairy Browne & The Bangin’ Rackettes. Wrapped initially in a dusty rose tulle robe that is giving “rich widow robe”, she soon reveals a black corset and glittering, rhinestoned boots beneath. Fafi exudes confidence and control in every movement. Her choreography is sharp, sensual and punctuated by impressive splits and floor work that draw appreciative gasps from the crowd. It is a performance that feels both powerful and inviting, as though she is ushering the audience directly into her world of delicious decadence.

Her second appearance takes a delightfully cheeky turn. Emerging in zebra print fur and rhinestoned cowboy hat, Fafi struts across the stage like a burlesque pimp in a medley of money-themed anthems. She invites an unsuspecting audience member to join the fun, then proceeds to shed layers with theatrical relish as the soundtrack evolves from Money, Money, Money by ABBA, to Money by The Flying Lizards, to Money by Leikeli47. When B*tch Better Have My Money by Rihanna hits its beat drop, Fafi lands a perfectly timed jumpsplit before dissolving into gloriously raunchy floor work. A stage kitten showers her with fake dollar bills from a money gun, creating a rainstorm of glittering capitalism that the audience devours with delight.

Producer and performer Gigi Cartier proves herself every bit the star of her own creation. Appearing in a white and gold flapper-inspired gown sparkling with rhinestones, she surprises the audience by delivering a live cover of Big Spender made famous by Shirley Bassey. Her voice carries a smoky allure perfectly suited to the jazz classic. As the performance unfolds, she sheds her sash and transitions into a brief feather fan routine before launching into an aerial trapeze routine suspended above the stage. What follows is a dazzling whirl of spins beneath flashing lights as she slips free of her gown with theatrical flair. By the time the final rhinestones hit the floor, Cartier has transformed the stage into her own glittering playground.

Melbourne minx Baby G brings a touch of old Hollywood intrigue with a sultry routine set to Why Don’t You Do Right by Julie London. Wrapped initially in a charcoal robe trimmed with faux fur, she makes the audience work for each reveal. Beneath lies a striking burgundy gown adorned with a golden dragon motif, complemented by a suite of sparkling jewels and a delicate Chinese hairpin securing her hair. The moment she removes the pin and her deep red locks tumble free becomes a beautifully executed theatrical triumph. Baby G strikes a perfect balance between sweetness and seduction, punctuating classic glove peels and sensual movement with a simply divine stage presence.

The trio act featuring Gigi Cartier, Annie Laine and Fafi D’Alour delivers perhaps the evening’s most gleefully camp spectacle. Entering one by one wrapped only in white bath towels and rhinestoned sunglasses, each performer pours herself a glass of champagne before gathering centre stage for a celebratory toast. When the music shifts from a sultry take on Man! I Feel Like a Woman by Shania Twain into Just a Little Bit by Kids of 88, the towels fall away to reveal neon string bikinis. What follows is a riotous bathtub fantasy. Champagne flows from a beautifully rhinestoned bottle, bubbles fly, and the performers gleefully lather one another in soap suds inside the venue’s iconic tub before spraying themselves with fizz. It is cheeky, theatrical and wonderfully absurd.

Thursday night’s headliner, Florence Fable, arrives from Naarm for a performance that crackles with kinetic energy. Styled like a rebellious jazz age flapper in a rhinestoned tuxedo ensemble, she begins her act to Puttin’ on the Ritz with effortless charisma. Her costume shimmers like a star-filled sky beneath the stage lights as she mingles with the crowd and discards each garment with playful bravado. Yet it is her physical prowess that truly astonishes. When the music shifts into High Roller Mambo by John Rowcroft, Fable launches into a series of backbends, cartwheels and impressive contortion work that reveals the athleticism beneath the glamour. It is high-energy, joyous burlesque that leaves the audience eating up every moment and begging for seconds.

“Ecdysiast” may be a rather sophisticated word, but it simply describes a striptease performer. Club Cartier celebrates that art form with confidence, glamour and a healthy dose of mischief. With a stellar lineup of interstate and Adelaide talent and a rotating headliner each night, Gigi Cartier has produced a show that sparkles with glitz while retaining the cheeky spirit at the heart of classic burlesque. Presented for just three nights at Nineteen Ten during this year’s Adelaide Fringe Festival, the rooftop setting proves the perfect backdrop for an evening of jazz age decadence and modern cabaret mischief. If you find yourself in Adelaide this long weekend and in need of a little sparkle after dark, Club Cartier: Ecdysiast may well be the most deliciously decadent ticket in town.

Club Cartier: Ecdysiast
Date: Thursday 5 – Saturday 7 March 2026
Location: Nineteen Ten, Rooftop/143 Hindley Street, Adelaide SA 5000
Rating: ★★★★