The concept of “vaudeville noir” is delightfully promising; take the wonderfully varied and entertaining performance styles of vaudeville and add a dash of mystery and intrigue to create the ultimate cabaret experience. Unfortunately The Dry Martinis and the Cigarettes of Doom did not live up to this potential.

The show consisted of multiple short scenes of an assortment of art-forms; from the usual song and dance, to slapstick interludes, lamentable magic tricks and a somewhat more enjoyable fire-twirling routine. The stage set-up was simple, appropriate and functional, with backdrop banners differentiating scenes effectively. Two major flaws of the show were the slow pace and the stilted transition from one act to another.

The two lead “characters” primarily interacted through tango and, though technically accurate, the lack of emotion and engagement of the performers was disappointing. In contrast, the dance routines performed by ‘The Doomettes’ were undoubtedly the highlights of the show, particularly the cheeky number Senora which lifted the energy in the room and got the audience clapping along. Unfortunately, this momentum was then lost due to the imposition of an unnecessary interval.

Though there appeared to be some effort made to include an overarching plot-line to tie the various aspects of the show together, this was not clear and became even more confused and unfathomable as the performance went on. Overall, the production felt disjointed and, while there were some commendable features, it did not work as a complete package.

Kryztoff Rating   2.5K