Wellington’s self-proclaimed “premiere cabaret experience”, Revel (created by Jackson Cordery) arrives with all the trappings of a world-class production – velvet-draped ambition dripping from every sequin, yet still working out how to walk comfortably in its stilettos.

Inverted Citizens transforms the Hannah Playhouse into a prohibition-era speakeasy so convincingly, you’ll find yourself glancing over your shoulder for coppers. Cordery’s stage design alone – a metamorphosis of cocktail bar into performance space – is ingenious and deserves its own standing ovation. Hats off to the lighting designer/operator (Scott Maxim) too, who delivers absolutely stunning work throughout.

The evening begins with promise as live jazz slinks through the room and performers materialize as patrons mingling with the crowd. Bartenders mix (slightly underwhelming) cocktails for premium ticket holders. It’s a brilliant idea slightly let down by drinks that don’t really scream “illicit underground revelry”. I had hoped for at least a cocktail named after the evening’s dazzling headliners, if not a specialty drink I couldn’t find anywhere else. 

The performers are what we’re here for though, and what a cast!

Ginger Velour doesn’t just perform burlesque – she curates it, her flapper-era routines are so meticulously realized you can practically smell the bootleg champagne and cigarette smoke. When she flirts with audience members between glove peels, the entire room leans into the fantasy.

Robin Yablind, meanwhile, delivers masterclasses in comedic thievery – his recurring tip jar bit grows richer with each appearance, the joke deepening like a fine wine (though the wine here is definitely bathtub-made).  Charm oozes from Robin throughout his performances – immediately stealing the audience’s hearts and drawing our full attention to wherever he happens to appear next (some real surprises!).

Nicole Maisey brings her expected aerial brilliance, with her hair-hanging act defying both gravity and belief as she ascends like the goddess she is. Her usually impeccable bottle walking routine, however, feels curiously truncated.

Matthias Goed’s balancing acts leave us breathless, though his ‘shy bartender’ character could benefit from more theatrical bravado.

Jared Pallesen’s vocals wrap around the room like cigar smoke – sultry, intoxicating, and perfectly period-appropriate. 

Adriana Calabrese possesses undeniable talent (her wine bottle number is pure charm), but as host, she delivers lines rather than genuinely engaging with the audience. She never quite convinces us we’re at an illegal soirée. The lack of clear audience guidance from our host leaves first-time cabaret-goers awkwardly silent when they should be whooping – a cardinal sin in an art form built on communal energy. 

Yet for all its growing pains, Revel thrums with potential. The production values outclass anything else in Wellington’s nightlife scene, and when the stars align (particularly when Ginger Velour or Robin Yablind take the stage, or when Nicole Maisey is in her element), we catch glimpses of the world-class cabaret Inverted Citizens dreams of creating.

With tighter hosting, more adventurous cocktails and a bit more polish, Revel could become the illicit night out Wellington never knew it needed. For now? It’s a glittering work in progress – flawed, fabulous and absolutely worth sneaking into. 

[Review of Revel 2024]

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