LOS ANGELES- The words on the lower left-hand corner of the poster for Lucha VaVOOM de la Liz’s March Madness event promised “sexo violencia” — and that’s exactly what was delivered. To call Lucha VaVOOM de la Liz a night of “burlesque and pro wrestling” is to almost undersell its innate appeal as a night of pure, unfiltered entertainment. If professional wrestling’s great cultural contribution is to resolve our moral ambiguities by depicting the good guys as fan-favorite babyfaces and the bad guys as dastardly heels, then Lucha VaVOOM de la Liz aims to appeal to our collective moral underpinnings with a generous serving of America’s favorite past time: “unbridled carnality”.
Founded in 2002, “Lucha VaVOOM” is a Los Angeles-based live event series that mixes “high-octane Lucha Libre wrestling”, “classic burlesque”, and “irreverent comedy” into a single, tightly choreographed spectacle. Over the years, it has become a cult favorite and cultural touchstone in LA’s nightlife scene. The brand is known for pushing the envelope and blending genres that, on the surface, may seem disparate — yet together, they form something greater than the sum of their parts.
That’s not to say the action in the ring plays second fiddle in any way to the beautiful women on stage. If anything, the “wrestling is even more of a focal point” given the lack of setup for the graps. Since we don’t have much time to get to know the wrestlers before they hit the ring, every entrance and move in the squared circle is an opportunity to reveal who these characters are. That theatricality is in line with Lucha Libre tradition, where colorful personas and masks are a vital part of the storytelling. Whether it’s the high-flying and colorful “Crazy Chickens” or the less-than-savory antics of the notorious “Dirty Sanchez”, every match delivered a story — sometimes silly, sometimes raunchy, but always crowd-pleasing.
The “rudos” (heels) and “técnicos” (faces) in Lucha Libre are often exaggerated archetypes, leaning into cultural satire or absurdity. And that’s part of the draw. The moves themselves — hurricanranas, planchas, and springboard attacks — require real athleticism. The fact that these wrestlers can execute them night after night in front of a roaring crowd, often in flamboyant costumes and masks, adds an extra layer of difficulty and artistry.
But can we really talk about Lucha VaVOOM without talking about the stunning burlesque dancers? From the graceful to the sensual, the burlesque performers were such a highlight that I’m still not sure if they served as a palette cleanser to the wrestling or vice versa. Performers in the past have included stars like “Dirty Martini”, “Michelle L’amour”, and “Kitten de Ville” — burlesque legends in their own right. Each act is curated for flair and theatricality, echoing the golden age of burlesque but with modern, cheeky twists. The performers combine striptease with comedy, dance, and cultural references, bringing diversity and creative edge to the evening.
Of course, I’d be remiss if I didn’t highlight the comedic contributions from the commentary desk by Andy Richter and Blaine Capatch. It’s said that commentary is the sizzle to the wrestling action’s steak, and nowhere is that more true than when watching wrestling in person without the vital context and color given by a brilliant commentary team. Richter — best known as Conan O’Brien’s longtime sidekick — and Capatch — a comedian with deep roots in the LA alt-comedy scene — brought rapid-fire quips and witty one-liners throughout the night. Their improvisational chops were on full display, transforming transitions between acts into moments of genuine hilarity.
There was a small moment that happened before the show even began that seemed like an inconvenience to the performers at the time but to me encapsulated what makes professional wrestling such a compelling draw, even after you think you know all the tricks. One of the musicians in the opening band, Mind the Music, wasn’t getting sound out of his guitar, leading to lead singer and ring announcer for the night, Ignacio Serricchio, to do crowd work while the sound issue got resolved. Serricchio — known for his roles in “General Hospital,” “Lost in Space,” and “The Young and the Restless” — is also a talented musician and charismatic performer. He literally called an audible (to use a wrestling term) to save the day and buy time, but Serricchio’s skills on the mic were such that you’d be hard-pressed to wonder if it wasn’t meant to happen that way all along.
Were there botched spots and missed timings during the in-ring action? Probably. But like Serricchio earlier in the night, the heart and desire in these wrestlers to put on a great show for all shined through in every match. That unpredictability — the beautiful chaos of live performance — is part of the thrill. It reminds us that behind the masks and glitter and spandex are human beings pushing their bodies and talents for the sake of entertainment.
For over two decades, Lucha VaVOOM has existed at the cross-section of punk DIY ethos, Mexican cultural celebration, and Hollywood camp. Its staying power in a city full of distractions is testament to how well it knows its audience — and how willing that audience is to embrace absurdity, athleticism, and a little bit of naughty fun. At its core, Lucha VaVOOM de la Liz is a space where anything can happen. And more importantly, everything usually does.
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