Immerse yourself in the electric world of AURA, where sultry burlesque collides with fiery passion, circus artistry, and raw, unapologetic power. Held at Adelaide’s stunning rooftop poolside bar Nineteen Ten during this year’s Adelaide Fringe Festival, AURA is a celebration of the divine feminine and its many varied and diverse forms. Curated by the legendary Lylah Bloom of Lylah Bloom Productions, AURA honours the fierce femmes who challenge norms and break barriers, paving the way for unapologetic self-expression. Night one (Friday 7 March) shone a spotlight on emerging artists on the rise, while night two (Saturday 8 March) showcased established and seasoned professionals from all across Australia. AURA is an invitation to reclaim your own power, to revel in your own sensuality, and to leave feeling inspired and empowered.

First to take to the stage is Juniper Fox, who doesn’t just perform; she damn well dominates. Set to the thundering Psycho by Muse, her fiery presence fills the space, demanding attention from the very first note. Wearing a sizzling vinyl-look firetruck red ensemble—complete with a tight mini skirt, long sleeve gloves, and thigh-high glittery red boots—she makes one hell of an unforgettable entrance. But when she cracks those black whips fastened to her hips, the sound almost splits the night in two. With each flick of leather, she ignites a blaze of power and precision, eliciting gasps from amongst the audience with each snap. Her fluid movements—wrapping the whip around her body like a snake—combine with sensational floor work, including a jaw-dropping cartwheel into the splits. Fierce, fiery, and utterly unforgettable, Juniper Fox leaves a trail of mesmerised gasps in her wake and a sizzling energy that lingers long after the final crack of her whip.

Next up is the ever-charming Porcelain Alice, who serves up a delicious concoction of danger and desire mixed with sideshow thrills. Dancing to the old timey jazz tune of Frenesi by Artie Shaw and His Orchestra, her costume—a dusty red, rhinestone-studded, three-piece set—gleams in the spotlight as she twirls her skirt with all the grace of a vintage showgirl. But just when you think this is a sweet, old-timey routine, she shatters expectations. She strips away the layers of her skirt, teasing the audience by tossing each panel with a mischievous smile, before pulling out a sword that gleams like a threat. With every motion, she makes the dangerous look effortless—licking the blade with a flicker of defiance, and then swallowing it whole in an act of sheer audacity. Her performance keeps the audience on the edge of their seats as she bends over, the sword still lodged in her throat. No fake props here; this is the real deal. Porcelain Alice’s mix of flirtation and danger is intoxicating, with every movement choreographed to perfection. It’s no wonder she’s dubbed Sydney’s ‘sideshow supermodel’; watching her is like witnessing a deadly ballet.

Mama Medusa is a mythical force, and like the ancient Greek figure Medusa herself, once you’re caught in their gaze, you’re powerless to look away. Set to the industrial beats of Royal T by Crookers & Roisin Murphy, their presence is as electrifying as a lightning strike. Draped in a sheer black bodycon skirt, bralette, and long gloves, they peel off their gloves and unzip their skirt with a sultry ease, before throwing themselves into some seriously sensual floor work. Their movements are a hypnotic blend of power and sensuality, and with every roll of their curvaceous hips, they bring the audience deeper into their mythical world. With a face card that never declines, an infectious charm and unrelenting charisma, one glimpse of Mama Medusa’s captivating smile, and you’ll be turned into rock-hard stone (pun most definitely intended).

When Saskia takes the stage, they she take a sledgehammer to the patriarchy, shattering societal “norms” and boldly declaring, “Don’t tell me to smile more.” Happy Face by Dick Van Dyke & Janet Leigh may start as a jolly tune, but for Saskia, it’s the soundtrack to a rebellion. Wearing a dusty pink sequinned gown and with a cheeky feather in their hair, they bring a sense of quirk, camp and subversion to the stage that immediately disarms. As the music shifts into Smile by Maisie Peters, Saskia shocks the audience by stapling a paper smile over their mouth with a staple gun. It’s a pointed commentary on microaggressions that reinforce gender steroetypes, and Saskia delivers it with a tongue-in-cheek audacity that makes the crowd cheer. From here, their act goes from playful to sultry, with hypnotic floor work to Billie Eilish’s you should see me in a crown. Saskia’s routine is the perfect blend of dark humour, sensuality, and the kind of theatricality that makes them an unforgettable force. The finale sees audience members hand Saskia words on paper that they staple to their abdomen, even employing an audience member to use the staple gun. What do the words spell? “Don’t tell me to smile more”; a resounding battlecry that makes the audience erupt in applause.

Heidi Gun is the ultimate bubblegum punk—an explosion of pink, sass, and unapologetic rebellion. Dressed in a vibrant pink PVC crop top and mini skirt, with fishnet stockings and rhinestoned black glovettes, she takes the stage like a firecracker ready to go off. As the opening chords of Bubblegum Bitch by Marina and the Diamonds fill the air, Heid’s movements are bold, cheeky, and filled with raw energy. But just when you think you’ve got her figured out, she dives into the Nineteen Ten pool, turning the space into her personal splash zone. An overhead shower makes it rain all over her, and soon enough she goes from just dipping her feet in, to jumping right into the deep end. The audience is suddenly drenched as water droplets fly in every direction, while Heidi continues her routine by dipping her hair in the water and whipping her head back. Heidi Gun well and truly makes a splash, turning the stage into her own bubblegum-soaked wonderland and leaving a wet and wild wave of electrifying energy in her wake.

Viola Verve’s performance is a sensual, seductive journey that transports the audience to a world of vintage glamour. With the dark and brooding chords of Desire by MEG MYERS pulsing in the background, Viola entrances the crowd in a gown that shimmers like a galaxy of stars. Her black sequinned floor-length dress, with a silver rhinestone halterneck and long, elegant glovettes, catches the light as she moves with a slow, deliberate grace that could melt even the coldest of hearts. As she begins to peel off her gloves and unzip the side of her dress, the audience can feel the sensual tension building. With a flick of her wrist, her gown slips away, revealing a matching black glittery set underneath. Viola’s performance is a tantalising tease, every movement deliberate, every glance meaningful. She steps into the bath on stage, letting the water pour over her body as she dances sensually beneath a showerhead. The water adds an element of primal release, turning the entire act into an erotic, all-encompassing experience. Viola Verve is the epitome of elegance, sensuality, and mystery—and her performance proves it.

Winchester Angel’s performance is a tribute to the icon who sparked her passion for burlesque—Lady Gaga. Set to a medley of Gaga’s hits, including Heavy Metal Lover and Disease, her hauntingly beautiful presence fills the stage as she takes us on a journey where darkness and desire intertwine. Wearing a black peak cap adorned with mirror ball detailing and a black corset shimmering with sequins and fringing, Winchester channels her inner Monster, making Gaga proud. From the moment she sheds her gloves and walks into the audience, she has them in the palm of her hand. The performance shifts seamlessly from seductive floor work to a breathtaking fire baton manipulation routine. With a flick of her wrist, she sends flames trailing down her limbs, every flicker and flare of flame a flirtation with danger. But she doesn’t stop at just twirling fire—no, she steps it up with an exhilarating fire-eating routine, bringing the heat dangerously close to her lips, as if daring the flames to consume her. It’s a performance that blazes a trail of seduction, leaving the audience burning for more.

Rounding out the night with an unforgettable bang, Six Inch Minx struts onto the stage like she owns every inch of it—and frankly, she does. Set to the pulsating Girl, so confusing by Charli XCX and Lorde, Minx enters in a black crop top and mini skirt, neon green lace-up ribbons wrapping around her like a dangerous, electrified gift. Each click of her six inch stiletto heels sends shockwaves through the crowd as she confidently owns her space—until she climbs the aerial chains like they’re an extension of her body. She flips, twists, and contorts in mid-air with the effortless grace of someone who’s part dancer, part daredevil. Minx plunges into the bathtub, balancing on and doing the splits along its rim before the water from the showerhead cascades down her body. As the blacklight hits her neon ensemble, she’s a glowing vision of chaos and control, like a radioactive siren of the stage. Six Inch Minx is so BRAT coded, and we are obsessed.

AURA is not just a burlesque show—it’s a revolution. A celebration of strength, sensuality, and the power to be unapologetically you, AURA is a feast for the eyes, the soul, and the senses. It’s a night where performers burn brightly, break barriers, and leave audiences in awe of the divine energy they exude. Playing for two nights only at this year’s Adelaide Fringe Festival, night one (Friday 7 March) showcased the rising stars of the burlesque world, while night two (Saturday 8 March) celebrated the seasoned professionals—this review pays tribute to those established artists who brought their mastery to the stage. Curated by the lovely Lylah Bloom of Lylah Bloom Productions, AURA transcends mere performance art—it’s an invitation to embrace your own power, revel in the art of self-expression, and own the stage of your own life.