Image: Blanc de Blanc at St Kilda’s Winter Garden Photography credits: Damien Bredberg, Daniel Boud & Ken Leanfore.
Melbourne’s love affair with circus-meets-burlesque cabaret in a Spiegeltent continues with Blanc de Blanc, the show touring nationally that forms the cornerstone of Map 57: St Kilda’s Winter Garden. There’s a lot to love about this latest production from the creators of Limbo and Cantina: an impressive cast, attractive roaring ‘20s-inspired design, engaging music, and a Champagne theme that heightens the sense that it’s time to let loose.
On a simple two-level Art Deco-ish stage that’s right at home in the Aurora Spiegeltent, the show opens with the distinctive clarinet solo of Gershwin’s 1924 wonder, Rhapsody in Blue. Enter Monsieur Romeo, the barrel-chested, dinner-suited, French-accented MC, who quickly asserts a magnetic, theatrical presence that’s three parts suave, one part sleaze.
Gershwin is just the start of the evocative golden oldies, from Edith Piaf to Jacques Brel, which drive the first half of the two-hour program in particular. Costumes and make-up are also mostly inspired by nostalgia, particularly the glamorous 1920s headdresses, corsetry and smoky eyes.
Modernity is never far away, however, including Monsieur Romeo’s big reveal: black swimming trunks. There’s pumping dance beats, a little hip hop and ‘60s go-go, and Nouvelle Vague’s recent-ish take on the Dead Kennedys’ Too Drunk to F**k, which accompanies Laura New’s playful balloon-popping act.
Popping balloons is about as uncomplicated as Blanc de Blanc gets. There are a few comparatively flat spots – the finale is surprisingly underwhelming despite its dance-party vibe – but for the most part it’s one remarkable routine after another, starting with Masha’s aerial gymnastics on a hotel luggage cart. This is the first of several times she impresses with her strength and agility.
Among the many other highlights is the unconventional serving of a glass of bubbles that requires the entire ensemble’s theatricality and flexibility, and a routine by Spencer Novich that reveals he’s more than Romeo’s comic sidekick. Like a manic channel surfer, he mimes, jerks and grimaces his way through a frantically edited soundtrack, ending with a pose of superhuman strength and balance.
Perhaps the most awesome act is the aerial acrobatics of Milena Straczynski and Hampus Jansson. Beginning and ending in the bubble-and-water filled spa bath that’s a feature of the show’s second half, their duet takes flight on aerial straps, revealing both artists’ amazing athleticism. This act’s grace and serene sensuality is sullied by the unnecessary ‘climax’ of Straczynski’s brassiere being whipped off.
There are plenty of very shapely butts and boobs (usually crowned with glittering little pasties) on show throughout Blanc de Blanc. They are central to its risqué, mildly titillating appeal, but it’s unfortunate that most of the flesh on display is female, and only men – Romeo and Spencer – speak. Masha gives a bit of mute attitude, but otherwise the female performers are glorious, smiling objects.
Zelia Rose’s physique is awe-inspiring, no matter which way you lean, but I’m still wondering whether her firecracker-enhanced inverted splits before a man plucked from the audience wasn’t so much edgy burlesque as an old fashioned case of exploitative male heterosexual fantasy.
What would a good cabaret show be without a sense of transgression, though? Overall, Blanc de Blanc is dynamic, visually appealing, sometimes breathtaking entertainment that sweeps the audience along. From the moment it pops its cork, this beautiful, bubbly bottle of wonders is a delicious escape from ordinary life.
Rating: 4 stars out of 5
Blanc de Blanc
Director: Scott Maidment
Cast: Monsieur Romeo, Spencer Novich, J’aimime, Masha, Shun, Laura New, Dominique Domingo, Milena Straczynski, Hampus Jansson,
Aurora Spiegeltent, Map 57: St Kilda’s Winter Garden, Melbourne, until 30 July
