Writers: Tosca Rivola, Emma Henley and Careena Melia
Directors: Dita von Teese and Tosca Rivola
Inspired by Wild West tales from the hard, fast life of legendary saloon entertainer, trick shooter and card sharp Miss Kitty ‘Queen of the Hoofers’ Le Roy, Diamonds and Dust is a brand new show that blends musical theatre and cabaret to dazzling effect.
Conceived by dynamic cirque and stunt performer Tosca Rivola, renowned for strong female-driven projects, it’s been brought to the stage in cahoots with burlesque icon Dita von Teese. Rivola reckons risqué performers are the “outlaws of the entertainment world”; she uses that perspective to create what von Teese has hailed as a new format: long-form, plot-driven burlesque.
The show demanded a specific venue for circus-style performances, audience participation and (near) nudity. Luckily, London’s new Emerald Theatre, deep in the Embankment, was up for tweaking into a suitably sumptuous saloon for its inaugural production.
The opening scene sets the tone for the first half: Kitty in her Mint Saloon, regretting her choices. It’s 1888, and the lustre’s worn off the gold rush in the South Dakota town of Deadwood. She’s dealing cards to a trio of drunken losers. What led to this sorry lull?
A fight among the gamblers is broken up by Kitty’s henchwomen, the Diamond Dames, in their glittering gun holsters and Stetsons. One of the gamblers groans on the floor, so Kitty shoots him: “We’ve all heard HIS story: I’m here now to set the record straight.”
The following scenes depict Kitty’s rise from fresh-faced dancer to owner of The Mint. Her stint as a saloon entertainer is represented by a showgirl in white feather boa and pearls, who performs rope-borne, splits-in-mid-air acrobatics.
Kitty, too wild for low wages, heads for California: “When it all goes south, go west, baby”, then the notorious Gem Theatre in Deadwood, where girls are lured in to become ‘soiled doves’. Dancers in red satin gowns evoke Kitty’s increasing allure as she sings The House of the Rising Sun amid a shimmering red plume fan dance.
Kitty explains how her first three marriages were all about love and adventure. In Deadwood, she wants The Money. She works the audience, looking for prospects: “Watch and learn, ladies!” Cue Tosca Rivola as The Gold, with a lasso and whips; she whirls and cracks them around an audience member tied to a chair. It’s edgy, but (mercifully) precise.
The appearance of Dita von Teese is heralded by Kitty: “It all came down to Lady Luck”. The atmosphere’s electric as she enters, immaculate, in a shimmering pink gown, with four fawning acolytes. They waft around; Lady Luck bites her gloves before seductively stripping.
The Diamonds and Dust team set themselves a real challenge in executing its novel long-form, plot-driven burlesque format. They are wise to adopt Kitty’s malleable legend: there’s enough credible narrative to support the serial spectacular performances, and sufficient leeway for surprises.
The high-end players deliver faultlessly and impressively across the board, from cirque to hoofing to fan dancing. And Dita von Teese meets all expectations, especially with her breathtaking slo-mo bucking bronco routine. It’s the height of classy titillation.
Steps singer Faye Tozer is excellent as Miss Kitty Leroy: her Deep South accent, singing and dancing never falter. She tackles the breakneck exposition speed with ease, effortlessly throwing out quips and one-liners.
The show’s drawbacks are few. The temporal chopping and changing make Kitty’s timeline tricky to follow, which might cause confusion among those not au fait with her story. A little PR and programme prepping might help. Dita von Teese is only scheduled to appear on certain dates, and this may disappoint some expecting to see her, although this has been fairly thoroughly flagged up.
And the Emerald Theatre is sweltering, particularly up in the circle. Happily, handheld fans are on sale in the foyer, along with whips and pasties.
Diamonds and Dust would be ideal for a hen, stag, or works do, or a (mature) family night out. There are dining options, Wild West-themed cocktails, and a licence that allows for shenanigans until 5am. Tickets aren’t cheap, but it’s cheaper than flying out to Deadwood: you can get your gold rush deep in the heart of the Embankment.
Runs until 28 September 2025
