Londoners have long looked to the other side of the Channel for a certain brand of bohemian decadence, but The Lost Estate has managed to fold time and space, depositing the wild spirit of 1890s Montmartre directly into the heart of the city
. Their latest production, Chat Noir!, is an absolute triumph of immersive theatre that feels less like a performance and more like a fever dream of velvet and smoke. From the very first welcome at the entrance to the final notes of the evening, the level of care from both the performers and the staff is exceptional, creating an impressive transition into the legendary Parisian cabaret.
The attention to detail in Thomas Kirk Shannon's design, coupled with the exquisite couture of Susan Kulkarni, creates a world so fully realised that the modern world outside simply ceases to exist. It is a joy to see the vast majority of the audience embracing the theme and dressing up, adding to the collective illusion that we are all part of Rodolphe Salis's inner circle of poets and revolutionaries. At the centre of this cabaret is Joe Morrow, playing Salis with an infectious, anarchic energy that holds the crowd in the palm of his hand. He is the centre of the evening.
He is supported by a cast of remarkable talent who engage with the audience at every turn. Alexander Luttley, as the mime Paul Le Grand, delivers an emotional but funny performance. Issy Wroe Wright brings the legendary chanteuse Yvette Guilbert to life with charm and vocal prowess, while Neil Kelso as the magician Buatier De Kolta provides moments of genuine wonder. Coco Belle rounds out the central ensemble as a captivating Belle Époque dancer, ensuring the room remains alive with the spirit of movement.
While the second act felt perhaps slightly less focused than the first, it does little to dampen the overall magic of the night. A significant part of that magic is down to the lighting by Mike Gunning, which is truly something special. Gunning uses light and shadow to transform the space into a living canvas, shifting the mood from the bright audacity of the stage to the smoky, intimate corners of a late-night bistro.
The fixed menu is great, offering classic haute cuisine that is both well-cooked and beautifully presented. For those who prefer to avoid alcohol, the non-alcoholic drink options are plentiful. To top it all off, the service is impeccable, and the staff both helpful and genuinely friendly throughout the night.
This is a production that proves you don't need to spend a lot of money for an Eurostar, Paris has come to London.
Don't miss it.
More info and tickets: here.