I feel I have a privileged position as a reviewer. It provides opportunities to immerse myself in the performing arts that visit Napier. These shows bring an invitation of connection with them. Whatever that connection is for the single viewer at any one time of a viewing, is obviously, entirely subjective. With that in mind, tonight’s performance of CABARET DE PARIS is thoroughly entertaining according to the willing audience that packs the stalls of our Municipal Theatre.

Unfortunately, tonight I have high expectations. I am looking for the ‘real’ cancan. Girls with fascinating x-factor and allure, spontaneous joy and enthusiasm. And by the end of the show, I am feeling amused but disenchanted.

A tired looking middle aged man in tired old black tails, gives us a feeble mime without ‘oomph’, to start the show. Unbelievably, this is the same performer that receives two well-deserved ovations during the two-hour extravaganza. If it wasn’t for Spanish-born Duban Nickol stealing the show with his outstanding audience engagement, performance of mime, song, dance, and trampolining, I would feel entirely let down. An absolute natural, he receives a standing ovation in the middle of the second act. We loved him.

We were promised a ‘slice of Paris Cabaret – a stage spectacular celebrating old-fashioned showgirl glamour’ combined with other performing arts. And this is literally what we get. However, I find the dancers uncommitted to the moment. Their performance is just going through the motion. I didn’t believe them for a second.

Some of the cancan choreography is hideously modernised into some sort of urban-dance-studio-hip-hop circa 2000. Which would be ok if the physical commitment to the genre of dance being performed was fully present. There is reference to the original cancan but again, not enough is made of it, and the female dancers make the entire thing unbearable with high pitched yelping which made me want to put my fingers in my ears.

Marissa Burgess, formerly of the Moulin Rouge in Paris, is not to my taste but I’m willing to watch and listen. Her stage presence feels jaded. The person sitting beside me calls her performance ‘hackneyed’.  I’m feeling very uncomfortable as I realise I’m watching her perform a script with little to no pizzazz, spontaneity, or real feeling. Not even the Edith Piaf medley at the end is enough to convince me.

Michael Boyd, the magician, has one trick at which he excels. Otherwise, it feels like he is performing for ten-year-olds..?

For any person in the audience who has never experienced pole dancing, Kim Miller provides a good entree into this world. It is an extremely challenging art that requires grace, strength and fortitude. She does extremely well considering her pole is not properly secured making it impossible for her to get any great momentum on her swing.

The lighting is as one would imagine, mirror ball, spotlights, blue sparks on a backdrop. The costumes, feathers and jewels throughout the show, however,  are extraordinary and costume designer Cathie Costello should be proud of her work. It’s not often Napier gets to marvel with delight at such a sight.

I leave the theatre feeling amused and disenchanted. But I am also wondering what it would be like to be at the real Moulin Rouge, to go and see a show at the real Lido. Maybe I should add those to on my bucket list.

Copyright © in the review belongs to the reviewer

Cabaret De Paris, from Australia, is billed as ‘A Burlesque Extravaganza’ and features former Moulin Rouge performer Marissa Burgess. As expected, Burgess and all the female dancers are beautiful with long legs and costumes fit for the fussiest of drag Queens. The male dancers aren’t wearing anything quite as sparkly but their gymnastic presence supports the women.

All the performers smile fiercely; their faces must hurt by the end of the night. Lip-synching along to ‘obviously French’ sounding songs, they frequently kick very high and do the splits on numerous occasions, although some routines lack cohesion.

As this show includes the word ‘Burlesque’ I expect something tongue in cheek with elements of parody pertaining to sex (and its various costumes). Instead, it feels like Benny Hill might run on stage to chase the young women. These women are overtly glamorous – but it seems to be taken quite seriously.

I shall reveal my bias. When I was 15 years old my friends and I frequented a club called Alfie’s in High Street (Auckland). Alfie’s had transsexual and drag performers standing more than six feet, lip synching and strutting like Barbie dolls come to life.

As I watch these beautiful women in their amazing array of dazzling outfits, I realise the nod and wink present in drag is lacking. They have been hired to be beautiful, to give us a small soft porn thrill barely wrapped up in satin and sequins. One of the singers lip synchs to ‘I am a Good Girl’ (a song Christina Aguilera belts out in the awful movie Burlesque) and I wonder what a seasoned Queen would be doing with it.

Despite my expectations or bias, people are clapping along and laughing. The audience respond well to Duban Nikol, an amusing mime who does some funny things on a trampoline. Illusionist Michael Boyd was on ‘Australia’s Got Talent’ in 2013 and is a skilled magician. Boyd is also the producer of this show and has been creating casino-friendly performances since 2003.

Kim Miller is obviously strong and flexible as she flings herself around a rather wobbly pole planted on stage. A couple ‘from Paris’ (not in the programme) do a very impressive dance together – they are graceful and gymnastic.

Although it is not what I hoped for, it is a matter of what suits your tastes. If you enjoy looking at pretty women, illusions and bright lights, then this one is for you.

Copyright © in the review belongs to the reviewer