Bad Flower Revue Review: Festive Burlesque Escapism at Chapel Street Arts Centre

There is a very specific moment between Christmas and New Year where time stops making sense. You have no idea what day it is, the fridge is full of leftovers you do not want to look at again, and the television seems permanently stuck on festive repeats. It is a strange, sluggish limbo that usually offers very little by way of culture, creativity, or excitement.

Until now.

On 27 December 2025, Derby was treated to something altogether different as the Bad Flower Revue rolled into Chapel Street Arts Centre, offering a joyful, cheeky, glitter-drenched antidote to turkey sandwiches and sofa fatigue. I was invited along and from the moment I arrived, it felt like a welcome escape from the festive fog and a reminder of how alive Derby’s alternative performance scene truly is.

A Ram, a Mic, and a Perfect Opening

The evening was hosted by the incomparable Fleur de Mal, who burst onto the stage in spectacular fashion dressed as the Derby Ram, complete with full horns. Launching into her own irreverent reworking of Wham’s I’m Your Man, rebranded as I’m Your Ram, she delighted the audience with clever lyric changes including the unforgettable line about “where all the sheep shaggers go”. The crowd responded instantly with cheers, whoops, and laughter.

From the outset, Fleur set the tone for the night. She chatted effortlessly with the audience, asking who among us were burlesque virgins and who were seasoned veterans, before laying out the only real rule of burlesque. Quite simply, “don’t be a dick”. It was funny, disarming, and warmly inclusive, creating an atmosphere where everyone felt part of the show rather than just spectators.

With that, she promised sparkle. Lots of it.

First Act: Sacha Le Swank

The evening opened with Sacha Le Swank, who appeared on stage as a giant shimmering disco ball. As layers peeled away to reveal her costume beneath, she danced through a euphoric medley of disco classics. It was glamorous, playful, and irresistibly fun. The audience bopped along, grinning from ear to ear, instantly warmed into the night.

Second Act: Axolotl Full Throttle

Fleur returned to introduce a dose of unapologetic manly energy, asking what could possibly be more manly than a cowboy. Enter Axolotl Full Throttle, strutting onto the stage in chaps and cowboy gear to Save a Horse (Ride a Cowboy).

What followed was thigh slapping, country swagger, and a striptease that had the crowd roaring. Shirts came off, cheers grew louder, and the act ended with the reveal of an outrageously oversized crocheted cowboy pistol. Ridiculous, confident, and brilliant.

Third Act: Jada Love

After some festive crowd banter about Christmas traditions, periods arriving at inconvenient times, and the eternal debate between roast dinners and Chinese takeaway on Christmas Day, Fleur introduced a Bad Flower favourite.

Jada Love slowed the tempo with a sultry routine to Feeling Good. Draped in a fluffy white boa, she delivered a seductive, graceful performance filled with beautiful floor work and perfectly executed splits. It was intimate, controlled, and quietly powerful, reminding the room that burlesque is as much about mood as it is about spectacle.

Interval Atmosphere

A short interval followed, giving everyone time to grab a drink and chat. The atmosphere was buoyant. Strangers were laughing together, discussing favourite acts so far, and buzzing with anticipation for what was still to come.

Fourth Act: Fleur de Mal

For the fourth act, Fleur returned as a performer, and it was one of the most visually striking moments of the night. A bed of roses was placed on stage before she emerged in a long, flowing white dress to Massive Attack. As the routine unfolded, layers were shed until she stood resplendent in a sparkling gold bikini.

She then reclined on the roses, dancing with them in a way that felt both sensual and artistic. It was elegant, theatrical, and deeply confident. The audience loved it, responding with rapt attention and thunderous applause.

Fifth Act: John McKenzie

Switching things up completely, Fleur introduced a Bad Flower debut. A musician, songwriter, Derby local, and collector of rubber ducks, we were told we would soon understand why he is nicknamed Fingers.

John McKenzie was a last-minute addition but instantly won over the room. Beginning with a festive nod to The Muppet Christmas Carol, he moved into a lovingly crafted Labyrinth medley, channelling David Bowie to the delight of fans in the audience. He followed this with an original song about Dracula, a clever local nod given Derby’s connection to early stage productions of the story.

His final medley, built around a handful of repeating chords that stitched together hundreds of recognisable pop songs across decades, was impressively clever and hugely entertaining.

Sixth Act: Sacha Le Swank Returns

Sacha Le Swank returned with a very different energy, this time delivering a vintage Hollywood-inspired routine. Dressed in red and black lingerie with a matching boa, she used old telephone props to tell the story of a fading starlet. It was melancholic, glamorous, and beautifully teased, showing impressive range from her earlier disco explosion.

Seventh Act: Renee Du Maurier

Next up was a first-time appearance, still keeping with the vintage theme. Renee Du Maurier delivered classic burlesque at its finest. Dancing to Big Spender and traditional striptease tracks, she embodied old-school glamour with a cheeky edge. Dressed in blue with mesmerising tassels, it was timeless, sexy, and executed with confidence.

Eighth Act: Fleur de Mal

After another short break, Fleur returned with a pop culture moment that resonated deeply with the room. Paying homage to the finale buzz of Stranger Things, she danced with flowing gold and white fabric fans to a Running Up That Hill remix. The routine was energetic, hypnotic, and beautifully performed, blending nostalgia with theatrical flair.

Ninth Act: Axolotl Full Throttle

Axolotl returned in full drag king glory for a high-energy number that raised money for Derby Trans Pride. Dancing to The Darkness’ I Believe in a Thing Called Love in a pink suit and platforms, this was joyous, explosive fun. The crowd went wild, and the room felt united in celebration and support.

Tenth Act: Renee Du Maurier

Travelling in from Manchester, Renee returned with a darker, fiercer routine. Dressed in black and red with goth and heavy metal influences, this was naughty, bold, and deliciously saucy. A classic striptease with a sharp edge, delivered flawlessly.

Eleventh Act: Jada Love

The final act brought the evening to a festive climax. Jada Love returned with a Christmas-themed routine that saw Santa on the phone and temptation taking over. Red robes fell away to reveal black lingerie, long braids, whips, and playful domination. It was cheeky, theatrical, and ended the night on a euphoric high.

A Perfect Farewell

Fleur closed the night with one final song, dressed in white and gold, singing Hazy Shade of Winter. The audience clapped along before every performer returned to the stage for a standing ovation.

From start to finish, the Bad Flower Revue was a masterclass in variety, confidence, and community. Tease, sleaze, humour, and artistry blended into an evening that felt joyful, inclusive, and utterly alive. In that strange festive no-man’s-land between Christmas and New Year, this was exactly what Derby needed.

I cannot wait for the next one.

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