VELVET, VICE AND A TOUCH OF CHAOS: A NIGHT AT CHAT NOIR

By Tanya Howard | Founder, The Live Review London · @glamglitzlondon ⭐⭐⭐⭐ | Press Invite

There’s something about finding a place that can transport you to another place and time. And that’s just what The Lost Estate does with their latest production, Chat Noir. One minute you’re queuing up outside in London, the next… you’re being ushered through into 1890s Paris. We’re talking velvet, candlelight, absinthe and that secret cabaret nightclub feel.

From the moment you enter, you’re in it. The first course is laid out for you: bread, butter, cornichons, and house pate with brandy and vermouth. There is a vegetarian option of wild mushroom pate with truffle and thyme. It sets the tone nicely. You’re here for a full evening, not just a show. Full disclosure, some guests are so committed to the bit, it’s hard to tell who works there and who doesn’t. I may have tried to order a drink from someone who was just living their French fantasy.

ART, ABSURDITY AND A VERY ECCENTRIC FIRST ACT

Act One introduces the cast, and it’s a proper mix of talent. You’ve got the host, mime, muse, dancer, illusionist and live band, all bringing something completely different to the table. Rodolphe Salis (Joe Morrow) leads the chaos, setting the tone with lines like “Once you can hold it in your hands, it’s no longer art” and “Jesus died for our sins, let’s make it worth his while”. I mean, that tells you everything you need to know about where the night is heading.

There are some genuinely standout moments here. The mime (Alexander Luttley) performs a routine involving a robe that somehow convinces you there’s another person on stage. It’s one of those moments where you realise how good physical storytelling can be. The muse (Issy Wroe Wright) delivers a song that is, quite frankly, outrageous and hilarious in equal measure. I won’t spoil it, but let’s just say… if you have an essence of prude, this isn’t for you.

The illusionist (Neil Kelso) pulls off a classic audience participation trick. They never fail to impress, although I’d love to work out how it’s done. Then there’s the dancer (Coco Belle), whose routine shifts from something quite sombre into a more stripped-back, burlesque-style moment. Slightly odd in concept, but you’re prepped that it’s about letting go and losing your inhibitions. Which, to be fair, feels like the running theme of the whole night.

ABSINTHE DREAMS AND A SLIGHT DIP INTO CONFUSION

Act Two is self-described as an “absinthe dream”, and honestly… this couldn’t be more accurate. It’s slower, more abstract, and leaves heavily into atmosphere over structure. There were a few times I was sat thinking what is actually happening right now?! I would have liked to have a clearer understanding of the narrative at this point.

There are some visually interesting moments, including an absinthe drip ritual and the illusionist performing blindfolded… with a few cheeky nods to how “real” moments like this can actually be. There are also some beautifully staged movement pieces that lean into the dreamlike tone of this section. But sadly, this section did feel like it dragged, and so lost some of the momentum built in the first act.

Food-wise, the main course lands between Act One and Act Two, which fits nicely with the pacing of the evening. The Coq au Vin comes with chicken, red wine jus, pomme purée, pancetta and garnishes, with a vegetarian Chartreuse de Légumes alternative. Now I do love a Coq Au Vin, but this one is on the simple side. Understandable given the scale they’re catering for, but it could have done with better seasoning.

ANARCHY, CARMEN AND ENDING ON A HIGH

Act Three picks things right back up again, leaning into full chaos. There’s an opening joke about the script being written five minutes before, which honestly feels quite fitting. Characters shift, roles change, and suddenly you’re watching a reimagined version of Carmen. But with a twist, leaning into the theme of independence and self-choice, which lands really well with a modern audience.

This final section feels like the show fully finding its feet again. There’s humour, there’s energy, and yes, we do finally get the full burlesque moment (as expected). And of course, you can’t have a night in a French cabaret without a round of the can-can. All the cast in petticoats, bringing all the high-energy, was just the ending you’d want from an experience like this.

A BEAUTIFULLY CRAFTED, SLIGHTLY CHAOTIC NIGHT OUT

Visually, this is where Chat Noir really shines. The set design, the costumes, the live music, it all works together to create something beautiful and immersive. From the candlelit tables to the roaming musicians and detailed styling, it genuinely feels like stepping into another world. It’s not just a show you watch; it’s one you sit inside.

That said, it’s not perfect. Some sections feel a little confusing, pacing dips slightly in the middle, and depending on where you’re sitting, you might miss a few moments. But overall? It’s a whole lot of fun. It’s also not a cheap night out, but when you factor in the three-course meal and a full evening of entertainment, it does feel like an experience rather than just a ticket.

Chat Noir at The Lost Estate is chaotic, indulgent, a little bit confusing at times, but undeniably entertaining. If you’re up for something immersive, a bit risqué, and don’t mind leaning into the madness, it’s a night you’ll enjoy. It might not be perfect, but it’s memorable, and sometimes that’s exactly what you want from a night out.

Chat Noir is running at The Lost Estate until Friday 31 July.

WEBSITE

⭐⭐⭐⭐

Photo Credit: