The sad fact is my memory isn't as good as I remember it being, so take it with a grain of salt when I say last year's installment of Lord Franzannian's Royal Olympian Spectacular was described, in Oly theater circles at least, as "the talent show."  Lord Franzannian is, in fact, Elizabeth Lord, whose own talent as an actor and storyteller is beyond question.  Each fall she puts on her "Franzannian" ringleader outfit and handlebar mustache to present a parade of diverse artists as a benefit for Big Show City, which the program calls "a non-profit performing arts organization whose mission is to help local burgeoning artists realize their ambitions by providing financial and emotional support."  Now, I don't know exactly what that means, but I've heard Big City kicked in on the Midnight Sun Performance Space's comfy new chairs - for which, much thanks.

The reason I mention the phrase "talent show" is it left me with unfair expectations.  If a few of the Lord's Royal Olympians appeared on America's Got Talent, for example, they'd be lucky to make it through their first 10 seconds before getting slammed with the dreaded "X" from Piers Morgan.  But this year, the Royal Olympian Spectacular is all about vaudeville, and vaudeville isn't a talent show exactly.  It's not a contest and it's certainly not that annual ordeal in your kid's grade-school auditorium.  Vaudeville is about variety and momentum - if you don't like one act, the next should arrive shortly - and somewhere along the way you'll see something that knocks your socks off.  We're splitting hairs here, but the point is, a minor change in marketing transformed my view of this year's presentation despite a couple of unimpressive segments.

This year Franzannian runs two weekends, which means you're much more likely to get a seat in the tiny venue.  Unfortunately for the purposes of this review, what I saw last week will not be exactly what you will see this week. I got a pair of acts by Wes Hauffe. You'll see a skit from the lovable Louise Morgan, plus juggling from Mizz Alison Wonderland and comedy by Zerbe the Zaniac.  Three dancers from TUSH! Burlesque will perform next week but change numbers.  All three were in fine form opening night, both physically and creatively.  Princess Lucky Buttons works in the smiling style of early Bettie Page.  Nani Poonani performed a Dance of the Seven Veils, and Bettie Beelzebub specializes in the art of disrobing scornfully.  Each created what were, no doubt, memorable moments for a teenager in the front row.

Speaking of veils, Meissa of WanderLust used hers to good effect in a belly dance that incorporated zills (finger cymbals) and a saber.  I also enjoyed the swirling turns of dance troupe Flamenco Fusion.  Lauren O'Neill (as Renata Regina Rothschild in a sequel to a piece from last year), and Tyler Lockwood earned laughs in comedic pieces (though it was a bit scatological for my subjective taste).  Scuff and Al, aka Scuff Acuff and Alison Metheny, provided period-appropriate music throughout, and John Ficker impressed with a clamorous performance as Mr. Ficker's Mother-Lovin' Red-Hot All-Star Easy-Goin' Good-Time (one man) Band.  Thanks to September rains, Sam "the Strongman" Miller performed an indoor version of his ever-popular chin balancing act.

The show was packed to the roof opening night and will be throughout its run, so do yourself a favor and score tickets early on brownpapertickets.com.

Lord Franzannian's Royal Olympian Spectacular

Friday, Sept. 24-Saturday, Sept. 25, 8 p.m., $13
Midnight Sun Performance Space, 113 N. Columbia St., Olympia
360.250.2721