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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By Trav S.D.

One wondered how long it would take the burlesque revivalists to remember that the form is as much about comedians as exotic dancers. It may be a show-business first that, in her new variety show, The Sensuous Woman, Margaret Cho reveals herself to be both; she spins pasties and one-liners with equal aplomb.

Beyond that, she also proves herself to be something of a bizarro ringmaster. It is not a joke to report that this production contains a naked dwarf, a plus-size dancer pulling streamers out of her ass and a woman flaunting a prosthetic penis. That’s a remarkable comedy show when the most normal-seeming performer on the bill is a transgender comic whose routine is largely about lesbian cunnilingus.

While Cho’s ostensible message is a celebration of difference, you don’t feel hit over the head with this lesson—diversity is simply on display. “Funny” is the bottom line. There’s scarcely an act that isn’t as laugh-provoking as it is outré, from a gay rapper named “Lisp” to YouTube phenom Kelly, who sings a techno song about $300 shoes.

Anchoring it all is Cho herself, who opens the show with a hilarious and raunchy monologue about “Miss Larry Craig’s epic search in the men’s room for dick,” and closes it with a fan dance. A couple of segments of Asian-American shtick remind us how far her act has evolved since the early days, when her material was fairly tame and conventional. Those words could never be applied to The Sensuous Woman.

The Zipper Factory Dir. Randall Rapstine. With Cho and ensemble cast.