At the Logan Square Auditorium on October 30, multidisciplinary artist Khadijah Mbowe brought to Chicago “Lover Girl,” a cheeky genre-melding fusion of opera and pole dance that invites classical lovers and pole dance enthusiasts alike to discover a space where opera can show class, sass and a little bit of ass.
Mbowe, the Gambian-Canadian-American vocalist and founder of Opertika, went viral in 2023 performing opera while pole dancing. What began as a playful experiment evolved into the one-night performance of “Arias of Seduction” (2024), and now, “Lover Girl (2025),” their first mini-tour that closed in Chicago after two New York shows. Told through four archetypes—Juliet, Susanna, Delilah and Isolde—each personality explores a different facet of what it means to be a Lover Girl.
Mbowe is joined by Lychee Storm, main choreographer and fellow pole dancer, whose athletic grace and sensual confidence highlight the strength behind the art. The program also features singer and drag queen Laylah Love, whose comedic timing and captivating vocals seduce, command and capture the audience between sets.
The evening opens with a solo from Storm to “Je Veux Vivre” by Charles Gounod from Romeo and Juliet. The song captures Juliet’s desire to live in the carefree, intoxicating dream of youth, a perfect introduction to our first Lover Girl: innocent, naive and painfully hopeful Juliet.
Wearing tall, white LED Pleasers, Storm follows with Jacques Offenbach’s “Belle nuit, ô nuit d’amour (Barcarolle).” Her movements are slow and fluid, an ethereal balance of strength and fragility. As she avoids the audience’s gaze with a Juliet-like innocence, every spin becomes a deep breath, every backbend a long sigh.
Mbowe sings Giacomo Puccini’s “Signore, ascolta!” Their voice unwavering, they circle the pole, then lift themselves gracefully, their body wrapping around the pole, voice still strong even while in motion. It’s a moment of stunning contrast: the discipline of opera entwined with the fluid power of pole dance, merging into an awe inspiring juxtaposition of genres.
A short duet to Raheem DeVaughn’s “Anytime” follows, with Mbowe and Storm lightly touching through body rolls and synchronized spins. Storm’s heels flash as she finishes the piece, slowly bending over, through and under the crowd, collecting bills with a cheeky grin. It was Juliet discovering the thrill of attention—flirty, fun and a little rebellious.
As change takes hold, our next Lover Girl, Susanna, emerges, playful and sassy. Susanna sings Mozart’s “Deh, vieni, non tardar” to her fiancé Figaro, who she knows is hiding nearby. Mbowe embodies this sentiment by slowly stripping with a sly wink and legs sprawled long. This Lover Girl is not about innocence but self-awareness: the lover who knows they are being watched and enjoying it.
Taking a moment, Mbowe sits to deliver Richard Strauss’s “Cäcilie,” their chosen aria, with intimate, bittersweet grace. It’s the song that made them fall in love with opera— with a feeling of reverence evident in every note. Through wistful stares, self-embraces and a faint, sorrowful smile, Mbowe serenades with a sweet nostalgia.
Susanna’s section continues with Mbowe performing “Isn’t It Romantic” by Richard Rodgers and Lorenz Hart, followed by Strauss’s “Morgen.” The sequence officially ends with Storm’s solo to Dmitri Shostakovich’s “Prelude, Op. 97” from “The Gadfly.”
Mbowe invites volunteers onstage for an “audition.” With only two rules—“don’t step on my hair” and “arms over, not under”—they guide participants into a chair before inverting into a handstand, wrapping their legs around their waist and lifting onto their lap. Mbowe’s effortless chemistry with the volunteers radiates a certain magnetic charm that heightens the infectious, wild energy within the crowd.
After choosing a partner, Mbowe officially transitions into the third Lover Girl: Delilah, the seductress. Set to TLC’s “Red Light Special,” Mbowe drapes across the chair, teasing their newly chosen partner with deliberate, sexual movement. Concluding with a sexy plunge into Mozart’s “Ach, ich fühl’s,” the crowd howls when the volunteer, fresh out of singles, tosses out her Ventra card. Mbowe just grins, “If you’ve never had money thrown at you while singing opera, you don’t know true power.”
Mbowe and Storm turn up Delilah’s sultry nature with a slow physical duet to Nina Simone’s “I Put a Spell on You.” Lychee’s controlled movement supports Mbowe’s velvety vocals as the two trade poses on the pole in a hypnotic dance of dual seduction. It’s a powerful display of feminine confidence and allure.
Mbowe slows to sing Camille Saint-Saëns’ “Mon cœur s’ouvre à ta voix.” The aria, tender yet dangerous, embodies Delilah’s forward nature as she tries to convince Samson to reveal the secret of his strength through seduction. Mbowe’s aching tone fills the space with restrained power, marking Delilah’s emotional finish.
For the finale, the most mature Lover Girl enters, Isolde, radiating an embodied, erotic presence. Mbowe and Storm move between pole and floor, their bodies climb, bend and unfurl in a seamless exchange of strength and grace. Set to Wagner’s “Mild und leise,” Mbowe’s singing carries a tone of rapture and release, a fitting close that feels both celebratory and transcendent.
Opertika succeeds in reimagining opera for a modern audience. By combining the sensuality of burlesque, the athleticism of pole dance and an amazing cast of personalities who encourage the audience to get a little freaky, “Lover Girl” is a spectacular concert, proving that high art and desire don’t just coexist, they thrive together.
“Lover Girl” is presented by the Opertika Company at the Logan Square Auditorium, 2539 N Kedzie Blvd, Chicago, IL 60647. Showtime: 10/30 at 7pm. More information can be found at operatikaevents.com.
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