Pompadour Production’s Noir Revue promised a “night of heartbreak, loneliness, anger, and sadness”. Although the performance didn’t quite deliver to the criteria one might be expecting, the show was engaging, captivating, and memorable.
Directed and designed by burlesque dancer Sarina del Fuego, Noir Revue is an amalgamation of cabaret, dance, and film. Every aspect perfectly featured the 20s jazz era and classic burlesque. However, the dramatic element, for which film noir is known, was underwhelming.
Set in a small theatre, the show gave the impression of being in a 20s jazz club, where the audience were regular patrons watching the house jazz band and dancers. The accuracy and detail of the costumes, as well as the emotion exuded by the cast, proved to heighten the atmosphere, yet the lighting was slightly off for the appropriate moodiness.
The live stage band, the Shantones, best captured the jazz era. Lead by singer and keyboardist Michael Wheatley, most of the songs were originals. They enhanced the tone and emotion of each dancer’s routine, whether it was uninhibitedly upbeat or subtly erotic. Wheatley’s voice was sublime, holding the audience’s attention and enthusiasm, even when the band was merely dedicated to being the accompanying soundtrack. At times, the music seemed a little excessive and bordered on distracting from the main components of the show: dance and film. However, it became the standout component due to its intensity and vigour.
The performance’s emphasis on film noir was sadly lacking. Displayed through film footage, the audio was only half audible over the music and the visuals lacked cohesion. The development of the film’s plot line was unclear and its connection to the show vague, even open to interpretation. It seemed as if the dancers just happened to be performing simultaneously alongside the film footage as two separate components, instead of interacting harmoniously with one another. It was not until the end that the association became evident. Perhaps it would have been better conveyed without the background noise or if the narrator and elements of the film’s storyline were more prominently showcased on the physical stage, such as if the dancers also doubled as story characters. This would’ve allowed the correlation to be more easily understood and enabled the underlying theme to be stronger.
The five female dancers had their own unique way of being femme fatales, with their individual burlesque interpretations. The pole-dancer was enthralling in her graceful strength while the other four dancers gave performances that were neither vulgar, nor obscene. Instead they were coy, sensual, and tasteful – fully embodying polished burlesque. Their use of props and subtle interactions with the audience intensified the demure seduction and strengthened the viewers’ understanding of the true art of burlesque.
Noir Revue was a night of sensuality and drama but essentially lacked a clear plotline and missed out on classic film noir elements. Ultimately, the most redeeming feature of the show was the performers who were polished, talented, and emotive – all coalescing into an enjoyable show.
