SINEMATIC

Emerald Theatre

★★★

“Unashamedly irreverent, camp and over-the-top”

“I see you shiver with anticipation…” croons the black-corseted, suspender-belted, fishnet-stockinged Charity Kase during the opening number of the glamorous cabaret show, “Sinematic”. With a late – and a false – start, anticipation is what it is all about. Although the shivers mainly stem from the bar prices. Yet Kase has the charisma and debauched magnetism to open the proceedings and draw us into a night of Hollywood inspired burlesque. Following on from ‘The Rocky Horror Picture Show’, iconic moments from other Hollywood films are ‘embodied by London’s baddest babes’ (so the publicity says); featuring parodies from the movies including ‘Pulp Fiction’, ‘Dreamgirls’, Austin Powers’, ‘Magic Mike’, ‘Catwoman’, ‘Dirty Dancing’, ‘Jaws’, ‘Chicago’, Moulin Rouge’ and many more that seem to wander in unannounced. We soon learn that the link to the silver screen is as hazy as the smoke machine and any narrative thrust as flimsy as the costumes. What the show lacks in cohesion, however, it makes up for in sheer energy, turning our initial expectant shivers into full-bodied shakes of excitement. And, at times, bewilderment.

Award-winning Queen of Neo-Burlesque, Lolo Brow, is our host. A green-haired Goddess who knows no boundaries, she puts the ‘sin’ firmly in the ‘Sinematic’. Audience participation is not just encouraged but almost compulsory, though several (not very) discreet plants in the crowd help assuage our fears of being dragged up on stage to join in the chaotic depravity. There is a routine to the chaos, and the evening drifts into fairly formulaic Burlesque, albeit with a couple of exceptional highlights. The show has attracted the top names of the cabaret scene; including Didi Derriere, Lady Lydia (who astounds with her hair hanging and fire act), and standout performer Katie Dunsden. There are tributes to Marilyn Monroe, Jessica Rabbit, Catwoman; there is aerial work and hoop routines, some singing, plenty of lip-synching and, above all, abundant baring of flesh.

There is nothing understated about the show, but to say it is rough around the edges is a major understatement. Many moments betray the lack of direction and under rehearsed curation. The lighting is haphazard, leading us to believe the technicians are simply busking their way through the show as much as the performers. After interval, the thread is in danger of being lost altogether. A high-camp nod to Austin Powers gives way to a baffling routine that recalls Benny Hill more than the velvet-suited Man of Mystery. And when we are promised an act that takes ‘Wuthering’ to new ‘Heights’, the evening is withering to new depths of pseudo-sapphic, lipstick erotica. Jurassic Park is given the comedy treatment, but it fails to convince that the real reason behind the dinosaurs’ extinction was the tassel-revealing shedding of a D cup.

There is redemption in the finale with a jaw-dropping medley from ‘Chicago’ and ‘Moulin Rouge’. Thrilling and polished, it lands where much of the show has been aiming all along – just, unfortunately, a little late in the game. A fleeting moment, although at least it eclipses some of the anticlimaxes suffered along the way. More of this would soften the sting of the high-end ticket prices. For seasoned cabaret aficionados, there is little that is groundbreaking or innovative. For the uninitiated, however, “Sinematic” offers a fun-packed, colourful and powerful taste of this world. Unashamedly irreverent, camp and over-the-top, it is a collective release – messy and vibrant. Approach it without the “shivers of anticipation” and you won’t be disappointed.

SINEMATIC

Emerald Theatre

Reviewed on 26th February 2026

by Jonathan Evans

SINEMATIC

★★★

“a brave and exposing piece of theatre”

Dylan Thomas’ poem, ‘Do not go gentle into that good night’, was supposedly written for his dying father. It has no title other than its first line which appears as a refrain throughout the poem along with its other refrain; ‘Rage, rage against the dying light’. The repetition gives it a cyclical structure, encapsulating the intensity of grief that the writer seems unable to escape from. It is fitting, then, that the rhythm, and the musicality, of Thomas’ words are echoed throughout Yanina Hope’s experimental play with music, “The Sound of Absence”.

Like the poem, it is uninterested in sentimentality. Indeed, Hope dwells on the ‘Rage’ for much of the time. Inspired by her own relationship with her father, the writer and performer – Yanina Hope – has put herself centre stage to grapple with the complex emotions under the audience’s up-close gaze. Hope takes on the persona of Lenore, recalling the events of how she rushes to an Intensive Care Unit hundreds of miles away where her father is lying, only to arrive too late. What follows is an analytical look at the stock feelings that are inherent in the aftermath, and a look at the relationship she never had.

The premise is not overly innovative, cataloguing the five stages of grief, although Lenore never seems to pass beyond the first two. What sets this piece apart, though, is the musical underscore. There is no set – just an imposing grand piano. Composer and pianist, Vladyslav Kuznetsov, plays throughout. It provides a beautiful backdrop; Kuznetsov’s sensitive style matching his compositions that reflect the words being spoken. A compelling and haunting device that unfortunately becomes victim to the success of its intentions. Despite wearing a headset mic, Hope often goes unheard in the mix; yet it is not just the sound mix that severs the connection between prose and music. It often feels like two separate narratives, and being pushed into choosing which one to follow, the piano wins. It feels improvised but Kuznetsov’s skill lies in non-conventional melodies, mixing crashing chords that give way to a softer undertow of mournful arpeggios. This tidal pattern draws us in, guiding us through Hope’s monologues.

The spoken word has less impact. Hope’s vocal cadences spanning a more limited range than the musical canvas they are given. There is little need, too, for Anna Korzik’s movement direction which appears random and has no reason beyond style for style’s sake. Director Ivanka Polchenko does well to integrate the many disciplines the play offers, but the connection is tenuous. There are moments when we feel we are watching a drama exercise which detaches our own emotional ties to the performance.

Yet this is a brave and exposing piece of theatre. Hope prowls the stage intent on sniffing out and pinning down her whirlwind of emotions. The varying degrees of success is inevitable – many are beyond her grasp and they get away, although she does capture some moments of poignancy. The grief of arriving at her father’s bedside too late is counterbalanced by the revealed knowledge of his final words – and their echoing reassurance. However, the words fade faster into the night, and it is the music that lingers after curtain call. The two could be perfect partners, but each are dancing to their own tune. Nevertheless, it is genuine, heartfelt and important, with the definite potential to be something quite compelling.

Tag Archives: Jonathan Evans

SINEMATIC

★★★

Emerald Theatre

SINEMATIC

Emerald Theatre

★★★

“Unashamedly irreverent, camp and over-the-top”