Cabaret de Paris

Cabaret de Paris

Her Majesty’s Theatre

29-30 July

Bringing opulence and femininity to Her Majesty’s Theatre, Cabaret de Paris teleports the audience from little ol’ Adelaide to the glitz of Paris in a single evening.

Former Moulin Rouge star, Marissa Burgess, the legendary Australian showgirl and the ‘toast of Paris’ acts as the show’s glittery host for the evening. With her flirty eyes, glowing smile and powerful voice, it is not hard to believe that Burgess was the longest-serving star in the French nightclub’s 120-year history, working there for 18 years from 1986 until 2002.

After returning to Australia, Burgess collaborated with illusionist Michael Boyd and choreographer Todd Patrick to produce Cabaret de Paris – a mashup of old-school cancan cabaret interspersed with modern acrobatics, pole dancing, magic tricks and circus acts.

Michael Boyd features as an illusionist, performing some mind-boggling disappearances and entertaining magic that keeps the audience guessing with baited breath (while the dancers catch theirs after an energetic ensemble opening number).

Cyriaque and Angela Kinkingnehun met while performing at the Moulin Rouge and the now married duo dance together in a spellbinding pas de deux filled with illusion, acrobatic lifts and elegance. The unity, strength and musicality of the pair is certainly one of the highlights of the evening.

I am not quite sure how to describe the contribution of Duban Nickol’s routines. For want of a better word I suppose we could call him a miming clown. He starts off slapstick, clumsily fumbling his way around the stage dropping things and falling over. While initially amusing and humorous, I started to grow a little tired of his somewhat shopworn act towards the end of the evening… that was until he pulled out one of the most unexpectedly extraordinary finales I think I have ever seen!

While this mix of acts keeps the momentum and entertainment running high, probably the ultimate jewel of the performance is the exquisitely lavish haute couture adorning the talented dancers and light up the stage. Ostrich feathers, rhinestones, Swarovski crystals and sequins galore, the costumes are made in a traditional Parisian style – meaning that although they are quite extravagant, barely any skin is covered.

In an earlier interview Burgess insisted that the toplessness of the dancers is not the focal point of the show, rather the lack of coverage is part of the overall costume and authenticity of the performance and style of dance. And I agree. The exposed bodies don’t go unnoticed by any means, but without them, the show would not be true cabaret.

Regardless, a couple of routines verge on raunchy burlesque and some aspects of the show may offend, so viewer discretion is advised.

All in all, Cabaret de Paris is an evening of lavish entertainment and you will find yourself recollecting moments of the show for days to come.

For more information on upcoming performances of Cabaret de Paris, be sure to keep up to date with the website.