Velvet, mirrors and mischief. That’s the world you step into at Melbourne’s Spiegel Haus, where Blanc de Blanc Encore bubbles over with energy and dares the audience to match its mood. From the moment you arrive, the room feels alive. The lighting is dim, the mood is anything but, and you can feel the night leaning in to whisper something scandalous.
Conceived and directed by Scott Maidment with choreography by Kevin Maher, this deliciously adult cabaret delivers the perfect blend of glamour and grit. The venue itself, all mirrors and mood, feels built for indulgence. Every corner of the Spiegel Haus adds to the experience; intimate, extravagant, and just the right side of unhinged.
The musical accompaniment, arranged by Steve Toulmin, is masterfully curated. It feels modern yet timeless, shifting seamlessly between sensual jazz and playful pop with a sophistication that keeps the audience leaning in. Every choice lands exactly where it should, elevating each act without overpowering it.
The cast is an international cocktail of charisma and craft. Clara Fable, the songstress of the night, oozes sensuality. Her voice is smooth, rich and utterly commanding, filling the room with the warmth and power of an old-world cabaret. Danielle Summers soars above the audience with effortless grace. Her performance is poised, daring and beautifully controlled, each movement a blend of artistry and athleticism. Mykhailo Makarov, the contortionist, bends into impossible shapes, twisting his body like liquid light. His performance is mind-boggling, equal parts hypnotic and unnerving, and it’s the kind of act that draws applause before you even realise you’re clapping.
Emile Mathieu and Felix Pouliot steal every scene they touch. Emile is the definition of cheeky charm, hilariously unfiltered and fearless in his performance. He flirts, provokes and peels away every layer with magnetic confidence. Felix matches him stride for stride, the perfect comedic foil with impeccable timing and a wicked grin. Their banter with each other and the audience becomes the heartbeat of the night, outrageous one moment and unexpectedly tender the next.
Flynn Miller brings power and presence to the stage. His movement is bold and masculine but never heavy, switching easily from strong lines to playful flourishes. Watching him tear through the can-can, skirt swirling with unbothered confidence, is pure joy. And then there’s Melbourne’s own Melanie Hawkins, a homegrown powerhouse whose performance balances elegance with fire. Her performance walks that fine line between tease and command, embodying the kind of confidence that makes you want to cheer rather than stare.
Visually, the production is intoxicating. Philip Gladwell’s lighting washes the stage in molten golds and deep shadows, catching sequins, champagne spray and flashes of skin with painterly precision. The costumes shimmer, the choreography snaps, and the whole show pulses like one long inhale before laughter breaks it open again.
What sets this experience apart is its rhythm. It doesn’t chase spectacle for its own sake. It flirts with chaos, then finds beauty in stillness. It laughs at itself, then surprises you with something sincere. That’s the magic of good cabaret. It’s not just performance, it’s connection.
The lights lift and the room exhales, as if everyone’s been let in on the same delicious secret. The party winds down but the feeling lingers. There’s glitter on the floor, lipstick on glasses and the sweet ache of having laughed too much. Blanc de Blanc Encore doesn’t just entertain; it leaves you buoyant, a little breathless and already craving another glass.
Blac de Blac Encore is playing at Melbourne Spiegel Haus for a limited season. For more information on the show or to purchase tickets, please visit https://strutnfret.com/shows/blanc-de-blanc-melbourne/
