A little bump with your grind at Bordello

On Sunday nights at Bordello, before the show begins, the red velvet curtains rise ever so slightly to tease the audience with a display of toned, garter-clad legs, just legs, sweeping back and forth across the stage floor in sync to “The Pink Panther Theme.”

This is “Harlow Gold,” a glamorous and polished addition to the still-thriving neo-burlesque scene in L.A. With its cast of gorgeous dancers (many of whom were featured at Ivan Kane’s now-defunct Forty Deuce club) and flirtatious numbers set to show tunes and pop songs, the new spectacle has been gaining buzz around town.

On certain Saturdays, however, a considerably more bizarre bump ‘n’ grind goes on at Bordello. At Courtney Cruz’s “Devil’s Playground,” pop-culture theme nights such as Comic Book Girls, Unconventional Barbie and Video Game Girls bring out the eccentric side of burlesque performers.

Burlesque has become the trend that just won’t quit. Between retro purism and postmodern experimentalism, the art form that was once almost extinct has now been reinterpreted for the last 15 years and shows no signs of weakening. From the radically inclusive, witty-and-gritty attitude of Michelle Carr’s Velvet Hammer troupe to the tightly choreographed, music-video style of Robin Antin’s Pussycat Dolls, L.A.-based dance crews have created strikingly different visions of neo-burlesque.

Even the definition of the art form and what makes it authentic is up for debate. For Tracy Phillips and Dominic Carbone, choreographers of “Harlow Gold,” it’s the dancers’ professionalism that counts. “This show’s got highly trained dancers, some of the best in the L.A. area. That’s something you won’t see in a lot of burlesque reviews.”

But for others, such as neo-burlesque pioneer Carr, it’s not all about the titillating choreography. “To me, a burlesque show is more than sexy dancing girls. It’s all about personality and attitude. When it becomes too polished, I think it loses that certain spark.”

Cruz’s opinion is similar: “I think humor is an essential part of burlesque. There’s nothing sexier to me than a beautiful woman who can make me laugh.”

There are also differing opinions on showing skin. For Cruz and Carr, the topless “pasties and G-string” get-up is key. This attitude was clearly not the case for “Harlow Gold.” Sunday’s show was a pasties-free evening, with the exception of flesh-colored bras with tassel attachments. The point there is clearly the dancing.

In fact, many of “Harlow Gold’s” numbers are more sassy than subversive, sticking with classic show tunes and such songs as “When You’re Good to Mama” from the musical “Chicago,” “Money, Money” from “Cabaret” and Aretha Franklin’s “I Never Loved a Man (the Way I Loved You).” Other numbers show a bit of grit, such as a cheeky number set to Tom Waits’ “Pasties and a G-String” -- even if the dancers remain clad in garters, nylons, hot pants and bras. Still, there’s no denying that the “Harlow Gold” dancers know how to entertain an audience. The choreography by Phillips and Carbone is quite clever and very well executed, even on Bordello’s tiny stage.

For a bit of slick, “Harlow Gold” is your ticket. Next weekend, however, it’s a double dose of bawdy fun as Cruz’s “Devil’s Playground” takes over Saturday night with its “XXXmas Party.” This holiday season, L.A. audiences get to choose their preferred flavor -- classic or campy, covered or bare.

ramie.becker@latimes.com