The Lost Estate – until 31 July 2026
Reviewed by Amarjeet Singh
5*****
From the moment I step through The Lost Estate’s doors, modern London falls away and Paris, 1896, takes its place. CHAT NOIR! doesn’t ask you to observe history; it invites you to sit down, take a drink, and be part of it. The decadent décor is richly immersive, surrounding us with low, conspiratorial lighting and seating that places you at the centre of the action.
At the helm is Rodolphe Salis, superbly played with tremendous presence by Joe Morrow. Presiding with charm, bite, and magnetic authority, he doesn’t simply host the evening, he commands it. What’s striking is how intentional the whole production feels. Le Chat Noir is revived not as a dusty artefact, but as a volatile and vibrant artistic playground. Dangerous, experimental, and joyfully unruly, this in-person escapism feels vital in a world saturated with screens. Guests are invited to arrive draped in velvets and silks of the era, and by the end of the night, we feel less like an audience and more like a shared conspiracy.
The evening unfolds in three sections, ‘Art, Absinthe, and Anarchy’, each with a distinct tone. Opening with classic cabaret, it drifts into an absinthe-tinged dreamscape and ends in a wild, glorious extravaganza.
Music is the heartbeat of the experience, expertly performed by the outstanding ‘Les Enfants Vagabondes’, Guy Button on violin, Peteris Sokolovskis on cello, Alex Ullman on piano, Will Fry on percussion, and Áine McLoughlin on accordion. Drawing on Debussy, Satie, and other late-19th-century French works, the score shapes the atmosphere of the room, sometimes driving the action, sometimes holding it in a spellbound hush.
The cast are the heart of the production, delivering exceptional performances throughout. Issy Wroe Wright’s Muse sings with operatic clarity and emotional precision. Coco Belle, as Cléo de Mérode, dazzles with swirling fans, fearless high kicks, and a breathtaking finale. Alexander Luttley, as Paul Legrand the Mime, draws you into a wordless world of remarkable emotional range, while Neil Kelso charms and confounds as magician Joseph Buatier.
Beyond the stage, the experience continues seamlessly. A generous three-course French menu is served between acts: champagne and charcuterie on arrival, followed by a deconstructed chicken chasseur with fondant potato and crisp green beans, and ending with a sharp yet beautifully balanced tarte au citron. The house white is refreshing, while the absinthe ritual — sugar cube, slow drip, cloudy louche — proves as mesmerising as the performance itself. There are also a host of exciting cocktails to try, if you fancy something a little different. The ‘corpse reviver 1864’ and the ‘elixir des artistes’ did not disappoint. Cat masked waiting staff glide gracefully around the room, offering impeccable service, with select team members adding extra theatrical flair. Stand-out moments come from Gigi, who expertly guides our absinthe choices, and the delightful Sister Mary, who keeps the evening running smoothly with a wink and the occasional surprise.
CHAT NOIR! is immersive theatre at its finest. Intoxicating, beautifully crafted, and endlessly entertaining, it really is a must try experience. For a few glorious hours, you don’t just visit Paris in its artistic heyday; it becomes one with it.