Indy Film Fest -- Welcome to the Dollhouse

This revealing documentary looks at a troupe of South Bend burlesque performers who find empowerment in baring their bodies.

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What’s the difference between strippers and burlesque performers? As one subject in “Welcome to the Dollhouse,” a documentary about a burlesque troupe in South Bend, Ind., puts it: we perform for empowerment and not money. Not only does she not get paid from burlesque, she actually shells out of her own pocket for the costumes, makeup, props, etc.

As someone who knows a lot about not making a living from their passion, I can relate.

This 20-minute documentary short from director Elizabeth Miller-Derstine looks at a half-dozen or so women who are part of The Disdress Dolls, a group of brassy burlesque performers who put on shows around north Indiana. They range in age and body type, but the characteristic that unites them is a burning desire to go on stage, dance and de-clothe themselves.

Despite what you might think, most of them don’t seem like hardcore exhibitionists. Founder Veda De Ville — most go by their stage names — talks about being a shy kid who was ashamed of her round shape. But she tried out burlesque one time, by her own admission wasn’t very good at it — but was hooked.

River Thong is a bespectacled mom who seems like she might feel more at home behind a librarian’s desk than on stage doffing her clothes. She speaks movingly about being in a long-term relationship that was emotionally abusive. River was constantly told she was not beautiful and not good enough.

We see the way she’s bucked up by the other performers and given advice — De Ville confides on the best way to do a dip with your rear end facing the audience so it doesn’t look like you’re “squatting in the woods” — and understand how for her, taking off her clothes is like removing the armor she’s built up, piece by piece.

Poppy Lane has a somewhat similar story, and inserts a lot of humor into her act. The one she’s working on for the upcoming show: acting like a possum, complete with tail and trash-loving attitude.

Perhaps the one with the most out-there attitude and style is Robin Rapscallion, a tomboy-ish type who likes to challenge gender roles. She goes for punkish outfits with lots of leather, masks, science fiction-y costumes and a snarly attitude.

“I think burlesque gave me the OK to be OK with myself,” one says, in a one-sentence encapsulation of why many artists do what they do.

Miller-Derstine focuses on interviews with the women, their practice time together and the behind-the-stage preparation, but of course gives plenty of snippets from actual shows. The tone is unabashedly erotic, fun and infectious.

They often don’t fill the seats — the Dolls rarely break even on their shows — but it’s clear from this empathetic doc that the rewards are ample.