‘Dusk to Dawn: A Cabaret’ review

‘an utter delight to watch, and these performers are testament to the talent of the theatre community in Durham’

DULOG’s ‘Dusk to Dawn: A Cabaret’ performance took the audience on a beautiful journey through songs from a wide range of well-loved musicals. Co-Production Managers Anj Karia and Thea Jupe put on a cohesive show, with transitions delivered by offstage cast members directed excellently by Director Hailey Chang between sections of the night. 

The cabaret opened with a rousing rendition of ‘Dancing Through Life’ from Wicked, where the performers lit up the stage with their beautiful vocals, as directed by Co-Musical Directors Maiwa Banda and Katie Madsen, and joyous choreography. This set the tone for what proved to be an astonishing evening. Up next came a charming performance of ‘A Lovely Night’ from La La Land executed by Eve Pearce and James Flemming, complete with impressive tap dancing; Pearce and Flemming proved to be a fantastic double act, owning the stage with powerful vocals and wonderful comic timing in both this number and ‘Right Hand Man’ from Something Rotten.

Madeleine McCrink captivated the audience with a compelling execution of ‘Gimme Gimme’ from Thoroughly Modern Millie, conveying every thought and emotion of the character. In contrast, Tomas Cowley had the audience in stitches with their hilariously characterful performance of ‘Dentist’ from Little Shop of Horrors.

Rishika Senevirathne’s recital of ‘Roxie’ from Chicago had everything fans of the show could desire: impeccable dancing, exceptional vocal control, and a clear understanding of the character’s motivations. Hilarity came from Izzy Macintosh, Cowley and McCrink, who performed ‘Easy Street’ from Annie with a natural chemistry. A highlight of the first act followed, with Yasmine Hassan’s haunting take on ‘Maybe This Time’ from Cabaret. Their emotional vocals and rich tone had the audience completely entranced, and it is not a performance anyone will be forgetting in a hurry. Molly Winchurst also shone vocally, and their rendition of ‘No One Else’ from Natasha, Pierre & The Great Comet of 1812 displayed their beautiful tone; a natural performer if there ever was one.

Camille Thornton-Izzard delivered a confident execution of ‘Funny Honey’ from Chicago, while Lucy Chisholm committed fully to the intensity of J.D. performing ‘Meant to Be Yours’ from Heathers. Sofia Marrows’ incredible vocal control during their rendition of ‘My Man’ from Funny Girl deservingly procured rapturous applause.

The standout performance of the night, however, must surely be attributed to Caitlin Leung’s ‘Heart of Stone’ from SIX. Embodying Jane Seymour, they had the entire audience under their spell, and their opt-ups were spectacular. This was followed by a lovely rendition of ‘She Used to Be Mine’ from Waitress by Phoebe Robertshaw, which was delivered with raw emotional clarity.

For those of us who desperately miss last year’s Gatsby summer, Isabella Isaacs completely captured the spirit of Daisy Buchanan in their take on ‘For Better or Worse’ from The Great Gatsby. Equally heartbreaking was Hannah Wright and Caitlin Leung’s performance of ‘For Good’ from Wicked. There wasn’t a dry eye left in the house as they perfectly told the story of a friendship reaching to an uncertain chapter - a familiar feeling to most as the end of the academic year slowly approaches.

The cabaret concluded with the cast performing ‘Seasons of Love’ from Rent. Marrows commanded the stage with her exceptional high notes, and the whole cast was clearly full of joy to be on the Assembly Rooms stage.

Credit must go to the backstage team for putting on a technically seamless show. Stage Manager Midun Odunaiya, alongside Deputy Stage Manager Beau Singleton and Assistant Stage Manager Carlos Davies, ensured smooth running throughout, supported by stage crew Danielle Pinto and Gemma Christie. The lighting, designed by Simone Leahy and operated by Elizabeth Guiver, enhanced the performances wonderfully, with beautiful golds and blues reflecting the changes in time throughout the night, and an impressive green and pink blend during ‘For Good’. The sound, supervised by Oliver Fitzgerald and facilitated by Alex Richardson, Elizabeth Wooldrige Smith, and Kai Doak, was also operated flawlessly.

Overall, this cabaret was an utter delight to watch, and these performers are testament to the talent of the theatre community in Durham.

By Maisie James.