DAGMARR’S DIMANCHE

Crazy Coqs

★★★

“plenty of star quality, with stunning vocals and a carefully curated set list”

If you’re craving golden age Hollywood glamour, the next instalment of Dagmarr’s Dimanche: ‘Songs from the Cinema’ at Crazy Coqs delivers silver screen seductresses, past and present. Though the opening is a little hesitant, Dagmarr’s voice and charisma soon light up the room.

“Willkommen, bienvenue, welcome” to an evening of cinema’s timeless temptresses – none more luminous than Hersh Dagmarr, of course. Dagmarr’s worldly ghost insists they’ve shaped everyone from Hollywood’s first chanteuses to today’s femme fatales. They’re not bitter, but it should have been them – and tonight they’re out to prove it.

Created and performed by Hersh Dagmarr with Karen Newby on keys, this cabaret channels 1920s Weimar Berlin and smoky French chanson. Dagmarr recounts a gloriously chequered past, lifting the curtain on everyone from Mae West to Madonna, and unleashes punchy vocals across a setlist spanning Sondheim, Gershwin, Kander and Ebb, and more.

Dagmarr’s singing is the clear highlight of the evening. Dagmarr’s technique and versatility are striking, moving effortlessly through musical styles with a thrilling brassy belt, soaring falsetto, and soft, intimate whispers that would make many singers jealous. The spoken sections initially land a little tentatively, with early stumbles and wobbly pacing that leaves a few punchlines adrift – though Dagmarr eventually finds the rhythm. It also takes time for the persona to fully snap into place, but once it does the magnetism is electric. Once in full stride, an irresistible enchantress emerges; it’s just a pity they don’t arrive sooner.

From a writing perspective, the act shows real promise but needs refining. The central concept takes time to surface, and the spoken sections could be snappier in places, with a few wordy detours slowing the pace. In terms of direction, Dagmarr could make a far bolder entrance – the current one is so understated it’s almost missed. Greater use of space and some choreography would lift earlier numbers, though things bloom as the persona settles.

The set list celebrates the golden age of Hollywood, with a few newer numbers adding welcome freshness. The arrangements cleverly give everything a silver screen shimmer, and the curation flows smoothly from big showstoppers to intimate torch songs that show off Dagmarr’s range.

Pianist Karen Newby plays with the ease and flair of a seasoned jazz musician. The arrangements are impressively cohesive across styles, though a few big moments – particularly the finales of ‘Mein Herr’ and ‘I’m Still Here’ – could use a fuller piano line. Newby’s own vocal cameo is charming and expressive, even if the brief duets highlight the contrasting singing styles a little too sharply.

The cabaret design is pared back, with a set composed of the signature Crazy Coqs’ red velvet curtain, piano and mic stand. The lighting is similarly simple, creating intimacy but occasionally dipping before the final note ends. The sound levels never quite hit the sweet spot between singing and speech, though Dagmarr’s soaring belt still shines. Costume wise, the glittery Dietrich esque tailcoat is a smart choice but could push the persona further, with the mid show costume change into another fur coat feeling like a missed opportunity.

Dagmarr’s Dimanche: ‘Songs from the Cinema’ has plenty of star quality, with stunning vocals and a carefully curated set list; it just needs to sparkle from the very beginning.

Hersh Dagmarr returns every Wednesday in March for their Roses of Elagabalus residency, and takes to the stage again at Circle & Star Theatre on 24th March.