LA FEMME KABARETT (CHRISTINA DIGIUSEPPE) 2018 TORONTO FRINGE REVIEW
La Femme Kabarett was classy and elegant from start to finish – from the big, glossy programs to the way the dancers snapped their fingers at precisely the right moments.
The show reminded me of an old-fashioned black-and-white film, only with a troupe of fabulous women showing off their dancing skills instead of a typical male-dominated storyline.
Christina Digiuseppe’s expert choreography was brought to life by all the dancers, whose every movement was synchronized to each other.
I enjoyed all the dances, but a few in particular stood out to me. The two dances with the red hats were enjoyable because they reminded me of old-fashioned dance scenes.
There were also dances where the dancers manipulated objects in addition to dancing. The way the performers used fans to accentuate and frame their movements was truly spectacular. This was followed shortly by a scene where the dancers artfully used parasols.
All of the dancers did a fantastic job working together, but I also understand why Diguiseppe chose to have some dancers do solos and be more visible than others. The way Mackenzie Carlson did her solo in that off-white nightgown was incredible. Her performance was swift, agile, and very appropriate.
The dance with the flower petals to a French song about flowers also stood out. The way those flower petals were thrown was masterful, and it only got better from there.
This show was a work of art that celebrated femininity in all of its forms. I enjoyed the various costumes, and thought the choices of music fit well with all the different dances throughout the show. I can understand why Christina Digiuseppe is considered an amazing choreographer.
La Femme Kabarett began and somewhat ended at a bar, which is appropriate given its name. What I most enjoyed about the last few dance numbers was how clearly happy and proud all of the dancers were to be performing together. Their enthusiasm was infectious.