Review: Chat Noir, The Lost Estate

Chat Noir begins as soon as audiences enter The Lost Estate. It’s the 1890s and the reopening of the legendary nightclub Le Chat Noir. We are all bohemians and aristocrats in Paris, a hub of glitz and glamour, where inhibitions are best left at the door. Accompanied by a three course meal, the evening mixes theatre and cabaret for an immersive experience.

Upon arrival, one can’t help but be in awe of the set design by Thomas Kirk Shannon. It is flawless; from a newspaper menu to decadent, moody lighting, to exquisite props and staging, is it clear that every detail has been meticulously planned and well executed. The whole space is utilised to its advantage. Actors and musicians move freely around, often interacting with guests with a playful touch, a cheeky wink and even some great audience participation. This world building enables the night to live up to its immersive promises.

The show itself is arranged into three acts: art, absinthe and anarchy. The energy starts off high, with club owner Rodolphe Salis (Joe Morrow) warming the crowd up to cheer and clap. With a running time of three and a half hours, Morrow does well at sustaining the audience’s energy and attention. However, the performance aspect of Chat Noir lacks the attention to detail displayed in every other component and is slightly underwhelming. The actors themselves perform exceedingly well and it is rather the script that needs more of a sense of direction. Sadly, the individuals seated next to me were talking loudly and taking pictures with a ring light throughout, which to some extent disrupted the immersive elements. The actors, though, should be commended as it neither impacted nor disrupted their ability to excel in their roles.

During the first act, the audience are introduced to characters through a series of cabaret acts. Mime (Alexander Luttley) is both endearing and funny, a standout from the cast, offering a solid, enjoyable performance throughout. There is also a dancer (Coco Belle), magician (Neil Kelso) and muse (Issy Wroe Wright), all uplifting and a good bit of fun. Audience participation comes in quite heavy and you should expect you may be picked on, but it is all in good jest. It encapsulates how the audience are not just observers but encouraged to revel in the madness of it all. In between each act, a course is served, which complements the pace of the show well. This breathing room is great, though the theatre element itself feels shorter than anticipated.

In the second act, the juxtaposition of high energy to a sudden slow, sombre atmosphere is too stark. There is a lack of clear storyline here as well as the section feeling a bit too short. Despite Belle’s beautiful and elegant dance moves, featuring a stunning use of wing-like fabric as she elegantly floats around the main stage, this part of the show is confusing.

Finally, anarchy brings a much needed revival of liveliness. The absurdity of the final act is fabulously crazy and chaotic, ending the show on a high note packed with entertainment. It is noted that this segment is unwritten and unrehearsed (which is evidently not the case), but it is by far the most amusing. The audience here has to work with the performers and join in with the comical absurdity. Who would expect to be meowing in a theatre on a Tuesday evening? 

For a fun night out, Chat Noir ticks the boxes. With great acting, set design and world building, it is largely an enjoyable and unique premise that with some script refinements has the potential to excel. 

Produced by The Lost Estate
Written and directed by Will Kunhardt
Cabaret consultation and co-written by Joe Morrow
Experience direction by Sean Hollands
Movement direction by Catriona Giles
Composition and musical direction by Steffan Rees
Set design and set building by Thomas Kirk Shannon
Lighting design by Mike Gunning
Sound design by Luke Swaffield
Costume design by Susan Kulkarni
Executive production by Eddy Hackett
Produced by Davy Berryman

Chat Noir runs at The Lost Estate until Friday 31 July.