By JACKIE BERG

“There are few comedians who can get away with what Cho easily captures. Her rough-around-the-edges attitude is adorably contrasted by her ability to relate to every audience member with ease.”

“It’s Margaret, bitch!”

Armed, dangerous and flanked by sleeve tattoos, Margaret Cho comes prepared for another battle of the C.H.O. Revolution at The Zipper Factory in her outrageous burlesque-style variety show, The Sensuous Woman.

This particular round of jabs at society’s view of beauty is not a hard-fought victory for Cho in her off-Broadway debut. Her progressive following at the fittingly industrial and raw Chelsea theater is ride or die for Cho. She has the ability to pull an ovation both an undeniably funny rant on Britney Spears’ VMA performance and a theatrical exposure of her bare you-know-what in the finale.
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By LEONARD JACOBS

“Margaret Cho’s burlesque-cum-variety act is worth every hoot and catcall, not only for her zinger-filled standup, but for the freewheeling sexual demagoguery of the whole enterprise.”

Sometimes ads go up online for writers to review porn films and websites, and you have to wonder what criteria one might use. “The camera work was redolent of a John Ford western”? Or do you draw parallels between somebody’s screaming orgasm and everybody in the movie Network yelling “I’m fed up and not going to take it anymore”? In some respects, The Sensuous Woman begs similar questions. Margaret Cho’s burlesque-cum-variety act is worth every hoot and catcall, not only for her zinger-filled standup, but for the freewheeling sexual demagoguery of the whole enterprise. How, though, do you judge it?
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