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  • Writer's pictureAlex First

Cabaret De Paris (touring) - 90 minutes, plus a 20-minute interval

Rhonda Burchmore sizzles in Cabaret De Paris.

With those golden tonsils of hers, she sings up a storm. It is great to see and hear her in such fine form.

She looks like she hasn’t aged at all. How does she do it?

She’s cheeky, cheery, sexy and seductive.

It is her showcase and she delivers in spades, wearing several breathtaking, glittering gowns.

Photo by William Hamilton-Coates

In fact, the colourful, glamorous and sensual costuming in this show is simply stunning. Red and black predominate, but there is so much more.

I can’t have been more impressed. Costume designer Cathie Costello has done a wonderful job.

A note to the producer, illusionist extraordinaire Michael Boyd: this lady deserves a massive pay rise.

Boyd wows us with his mind bending “magic”. He is a master of his craft who totally engages us with his sleight of hand.

While I am none the wiser as to how he – working with an “assistant” Elysha Atwell – does it, what we see on stage is mesmerising.

So, too, is Veronica Waite, whose flexibility had me thinking of the “Indian rubber man”.

She appears to fold herself in two, before moving into a crab crawling stance, legs in front of her head while doubled over.

It brings tears to the eyes just thinking about it, but she pulls it off effortlessly. Plus, she is one heck of a pole dancer.

What gives Cabaret De Paris undoubted pizzazz are the seven stunning, lithe and leggy showgirls, sporting G-strings, Can-Can costumes, feather boas and fans.

Combining elegance and “barely there”, they set pulses racing throughout. Think Moulin Rouge.

That is not to overlook the three strong and agile male dancers, who know how to rock a waistcoat and bow tie.

The show has been superbly choreographed by Todd Patrick, with additional choreography from dance captain Matt Browning.

That is enhanced by Jeremy Dehn’s lighting design.

Cabaret De Paris is 90 minutes of slick entertainment, which resonates with an appreciative audience.

The music, save for Rhonda Burchmore’s vocal prowess, is canned and delightfully varied – from jazz to pop, Can-Can to hip hop. There’s even a Can-Can hip hop number, in which the two genres combine.

That means that from time to time the showgirls’ mime.

A live band should certainly be considered to give the otherwise masterful cabaret even more “zing”.

To book tickets, go to


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