Noveltease Illustrates Our Splendidly Fluid Selves with ‘Orlando’

Verity Germaine, Marnie Wingett, and Lavender Lascivious in Orlando

Courtesy of Noveltease Theatre

I listened to Virginia Woolf’s Orlando on audiobook three summers ago while driving through the lush and verdant fields of Vermont. Coincidentally, it was at this same time that I first began to feel a gender expansion within myself. I remember being wowed by the mere brilliance of the writing in Orlando, but also by the novel’s central idea: that a person could be many people in one lifetime. It is universally relatable and moving, but feels even more potent for those who fall outside the gender binary. 

So I was obviously intrigued when I heard that Noveltease Theatre, Seattle’s literary burlesque company who blend burlesque, dance, and theater storytelling, were putting on an adaptation of Orlando. I was curious how Noveltease would interpret this dense literary text into visual language and choreography. And yet, speaking with the production’s director, Alyza DelPan-Monley, it quickly became clear how intuitive it was to make a burlesque version of the story. 

DelPan-Monley described: 

“Burlesque as an art form is able to really explore what is revealed and what is concealed, and the relationship of power and agency with those reveals. As Orlando is dressing and undressing throughout the show, in what would be male clothing or female clothing... It’s the feeling of uncovering as a means of discovering oneself, and dressing as a means of presenting.”

DelPan-Monley directed the show based on an adapted script by Jesse Belle-Jones and co-choreographed with Noveltease co-artistic director Fosse Jack. While the production has been in development since the end of 2025, rehearsals only began about six weeks prior to opening night—a quick turnaround for a show that feels deeply lived in. 

Merlot Loren and Ash Midnight as Orlando and Sasha

Courtesy of Noveltease Theatre

In Belle-Jones’ adaption, seven actors play the character of Orlando, a unique take on the role. Visually, the Orlandos are connected through the color purple, which was the color of the ink Woolf used when writing. Orlando’s lifebegins in the Elizabethan era and extends through the centuries into the 1920s. When one Orlando is in the midst of their adventures, the other Orlandos formed a chorus who functioned as narrators. Each Orlando also has a moment with the next one as their time is coming to its natural end. 

Rich and sensual lighting design by Angelo Domitri set a background for the striking costume design. Intricate and full of layering (it’s burlesque, after all!), the costumes, designed by Scarlett O’Hairdye, are period-reminiscent with contemporary flares. O’Hairdye sourced some archival pieces for the show, including Queen Elizabeth’s dress, but mostly hand-stitched and dyed costumes for over 25 characters. The degree of detail in these floral-leaning, genderfluid clothes is truly stunning. 

The floral detailing is also an intentional thematic choice, based around the inherent queerness and diverse gender expression of flowers. Costuming reflects a theme DelPan-Monley explained as key to this production, which is, “The idea of clothing as costume or clothing as a way of expressing one’s identity to society.” They went on to add: “A big theme in Orlando is how we feel and experience ourselves internally and how we express ourselves externally. And also how the external perceives our external selves. And plants and flowers are well-versed in the complexity of that.”

In line with this interest in the natural world is the play’s theme of the competing desires for nature and civilization, for isolation and community. The oak tree is a recurring image throughout the show, with Orlando often retreating back into the fields and forests where they came from after stints in cities and being in relation to others. This resonates with me on a personal level as someone who grew up rural, then lived in cities as an adult, and often find myself drawn back to the solitude of the wilderness. 

Shelmerdine played by Moonflower

Courtesy of Noveltease Theatre

Orlando contains many laugh-out-loud moments and some excellent performances of physical comedy, particularly from Anya Knees as Nick Greene and Marnie Wingett as Queen Bess. The strip teases and reverse strip teases (putting clothes back on can be sexy, too!) are playfully erotic while also evoking reverence for body diversity. It is beautiful to see each actor take up space in their body in their own way, and for the crowd to cheer for each of them. 

I don’t want to spoil it too much, but I walked away from Noveltease’s Orlando with a sensation burning in my chest—that all my past and future selves were contained within me, and that rather than judging these versions of myself, what if I loved each of them? What if I gave each of them a long, healing hug? 

Orlando is showing at Theatre Off Jackson through May 9. You won’t want to miss this beautiful, sexy, literary show.