C’est Magnifique is a little piece of escapist heaven for any fan of musical theatre. Entering the venue feels a little like going back in time to an imagined cabaret night haunt in Paris or Berlin in the 1930s; the performers are clad as if they had walked directly out of Cabaret’s Kit Kat Club oozing easy sensual charm with all the guests as they settle at their tables. The silks, shorts and suspenders add a touch of risqué as they embrace the feminine, masculine, and everything in between. “Ladies and Gentlemen, Gays and Theys” is the address to the audience frequently throughout the show by the emcee Cyril, played by Conor Baum, who effortlessly holds the audience in the palm of his hand throughout the show.
You’d be hard pressed to put C’est Magnifique into any one category. Yes, it’s a cabaret show: it’s a show featuring tons of different musical numbers, often in arrangements you’ve never heard or imagined before, and always interesting and beautiful. It’s also an experience, a time warp, immersive theatre, yet more so. All the actors are playing characters yet they are like a second skin: you really believe they are the people they are playing through the way they interact with each other as well as their introductions. Chocolate Box Theatre describe it as a “love letter to all things cabaret and musical theatre” which is a very apt description.
What’s remarkable here is the detail they have added, to absolutely every single part of each performance. They have found ways of showing the profound in the seemingly simple; such as the use of mirrors in ‘I Am What I Am’, and bringing us a wave of emotion in a solo from Moulin Rouge, and finding all kinds of humour to make different pockets of the audience giggle and guffaw with delight in many songs, some with hilarious innuendos. The detail is also in the staging, the choreography and vocal arrangements which is different for every single number. They also perform all around the room, which involves the audience in the experience: we are directly addressed and included in all that goes on.
The vocals are absolutely sublime and the choreography is outstanding: all manner of styles including from the 1920s and 1930s and some nods to Fosse, plus a gorgeous tap number, and fan dances – and not the way you may have seen before. It’s also incredibly funny, as well as slick and drilled: they all know what they are doing, so sometimes when something might go slightly awry which is a thrill for the audience who laugh even more, you’re never quite sure if it’s scripted to go wrong or if they handle everything with such ease they just incorporate it.
The dancing is fabulous, and the vocals: from perfectly blended and beautifully arranged harmonies to solos with notes held so long they make you gasp – are pitch perfect excellent. They are all delicious but some are extra special: Conor Baum’s vocal control is masterful, so too is Emma Edwards as Zelda who sounds glorious, as does Hannah Semple as Goldie. All seven performers do, yet those three particularly standout and make you feel warm and hugged by the sounds. All sound distinct when they perform solo songs: Nathan Potter as Gaylord’s gorgeously emotion filled ‘Nature Boy’ gives the whole show depth. All together they balance beautifully.
This whole show oozes sexiness, sassiness, sensuality and sophistication. It’s a tip of the hat towards hedonism, yet embraces the old and the new in musical theatre in perfect balance. It’s an example of consummate professionalism and enjoyment in putting on a very bespoke and special show, with super audience banter from Cyril. This is a top quality excellent night out and a feast for the senses.
The Tusk Club at The Walrus, 25 October 2024
C’est Magnifique runs 29 November and various
Photos Credit Scarlett Madison Photography
