cabaret

I'll admit it - I'm a Madonna fangirl so the thought of spending an evening at a cocktail bar listening to her hits was a dream come true. Yet more than that, In Vogue, a one-man show from one of Australia's biggest music theatre stars, is entertaining, funny and surprisingly touching.
It is time to reacquaint ourselves with Steve Furst, a man who made his comedy bones back in the 1990s, doing his first stand-up at 23 and subsequently working with Vic Reeves and Bob Mortimer in Catterick and alongside Matt Lucas and David Walliams in Little Britain.
A couple of weeks back I was in the bowels of Heath Street Baptist Church in Hampstead for an evening of French jazz, courtesy of Lilly Zazou. Lilly, aka Elise Lefay is an extraordinarily accomplished mademoiselle, able to turn her vocal cords to anything from Piaf to Poulenc.
After packing up my disco ball and heading back to London with nothing more than a crumpled flyer in my pocket, a hangover and a mixed sense of contentment and foreboding dread, I thought it would be helpful to offer five pieces of advice for coping with life post Edinburgh Fringe.
Get blotted on night two. I was supposed to stay sober. I'm a professional. I have to pace myself. There's 23 more shows to go. My voice is my instrument. And then I got drunk, stayed up till four and spent the next day hungover, flyering with sunglasses and vodka breath.
I spend a lot of time writing material for my shows - scratching my head, deleting, re-typing, drinking coffee...
Burlesque and cabaret has been getting a lot of flak recently so it's a brave decision to produce a burlesque musical and send it on a national tour. However the risk largely pays off in this surprisingly engaging production.
I've been a professional juggler for almost 30 years. I've worked hard to redefine peoples preconceptions of my artform, and show that it can be as fun, dramatic, beautiful, silly, elegant or thrilling as any other art. And this year, somehow, I've ended up hosting my own West End show.
Describing Lady Rizo is a bit like trying to explain 'Django Unchained' or 'Pulp Fiction' to someone who has never seen a Tarantino movie. Both deliberately push against categorisation. She's funny, yes, but not at the expense of being dark and thoughtful.
Take a look at all of HuffPost UK's theatre reviews: How to think about a thing like burlesque in 2012, when children watch