Bringing the unmistakable energy and excitement of New York City’s nightlife to the heart of Central London, David Rhodes’ highly anticipated sell-out soirée will make its European debut at The Crazy Coqs this April. SOIR NOIR: A Nightclub Confidential invites audiences to step into a world of glamorous nostalgia, where the allure of private, exclusive parties hosted by the social elite in the 1940s, 1950s, and 1960s is reimagined for today’s audience. This immersive experience transports guests to an era of jazz, sophistication, and intimate musical gatherings, all set against the backdrop of New York and London’s most iconic nightclubs.
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| Photo by Michael Lee Stever. |
David Rhodes will take songs known and loved from a bygone era and draw them into the present day, whilst still maintaining the core and much-loved characteristics from such an influential period for music. SOIR NOIR: A Nightclub Confidential will take place in the cozy setting of live music and cabaret venue The Crazy Coqs, offering audiences a chance to experience the nostalgia of the 1940s to 1960s. Reminiscent of the intimacy of a New York bar in the late 20th century with musical direction from Simon Beck, Rhodes will be positioned around a baby grand piano and joined by partner Jake Oswell for an evening of jazz, swing, rock ‘n’ roll and all the hits from a time gone by.
Ahead of the show at Crazy Coqs in London on Wednesday 16th April we say down with David to learn more.
What can you tell me about SOIR NOIR?
SOIR NOIR is a modern take, or better put a reimagining of the type of show you might see in a swanky nightclub in New York or Paris in the 40’s, 50’s and early 60’s. It’s a celebration of what is referred to as The Golden Era of Nightclubs, when artists like Bing Crosby, Dean Martin, Sammy Davis Jr., Rosemary Cluny and Lena Horne performed in formal dinner jackets and evening gowns for the cosmopolitan elite.
What inspired you to create this show?
SOIR NOIR was commissioned in June 2024 for Provincetown Cabaretfest. The theme of the festival was The Golden Era of Nightclubs. When the producer approached me,I was hesitant at first. My work tends to be more edgy and often has an LGBTQ+ theme. I’m not Michael Buble and I thought there were other artists more suited to the genre. So, I told her, I’ll come and offer a Master Class but I’m not sure I’ll debut a new show. And she said, “YOU’RE COMING AND YOU’RE GONNA DO A SHOW”! Patricia Fitzpatrick, who produces the festival, is an 80-year-old chain smoking diva who used to be a headlining chanteuse at the Playboy Clubs in New York, and when Patricia says you are putting on a show you do it! So I started researching songs from the period, some of which I knew and many of which I’d never heard before with the intention of creating a show that would have the same feeling and energy, as if you were to go see a show at the Copacabana or the El Morocco Club in the 50’s, but not be a museum piece. I found I had a much greater affinity for the music and vibe of that era than I could have imagined. Despite my own reservations about stepping into the shoes of the great musicians of The Golden Era of Nightclubs, Patricia persuaded me that I was right for this material. I am extremely grateful, and she was right. The shoes fit better than I could ever have imagined. The show met with rave reviews and standing ovations, so the next step was to bring it New York and now London!
What was the creative development period like for this show?
I wanted the show to feel relevant as if it was happening now in real time. So, I set the show in Provincetown which is a quaint New England fishing village and also America's oldest continuous artist’s colony and an LGBTQ+ destination. It’s also an entertainment hub like no other in the world. Beyond just a foray into the incredible catalogue of The American Songbook, I wanted SOIR NOIR to be a celebration of inclusivity.
Have you had to approach anything differently for the European premiere of the show?
The show in London will follow the same format as it did in Provincetown and New York. “If it ain’t broke why fix it?”. The only difference will be in the opening patter when I will invite the London audience to travel with me across the pond, from England to New England with the opening song Old Cape Cod which was originally recorded by Patti Page in 1957 and has been referred to as the unofficial anthem of Cape Cod where Provincetown is located and SOIR NOIR had it’s debut.
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| Photo by Michael Lee Stever. |
How do you select which songs and artists to feature in the show?
I look for songs that I have an affinity with and have a passion for singing, then I structure the story around the songs. I’m not sure why or how that always seems to work for me. Perhaps unconsciously I already know the story and am drawn to songs that will fit the bill. Or maybe and there is some cosmic zen force at work when I choose the songs, but somehow it always comes together in a cohesive symbiotic relationship between the music, the story and thematic intention.
How wonderful is it to get to share the show with your partner Jake Oswell, and what does he bring to the evening?
Well, I don’t want to put out any spoilers, but you can’t do a show about the Golden Era of Nightclub and not have a femme fatale chanteuse perched in the crook of the baby grand belting a torch song in an evening gown and opera gloves. That’s not my niche. Let’s just say that Jake fills those heels beautifully and I can guarantee they won’t disappoint.
What was the first piece of theatre you saw that had a big impact on you?
My first Broadway show was the original production of Man Of La Mancha with Richard Kiley. I was five years old and the experience was mesmerizing. When the stair descended into the dungeon from the fly space above the stage I swore all of medieval Spain was looming above. I think I knew then that I wanted to be on that stage with those people.
How do you reflect on your career to date?
I’ve been acting professional since I was twelve years old. It’s been a journey with incredible highs and lots of disappointment. I think when we are younger, we tend to value and evaluate ourselves and our successes relative to other people’s journeys. That’s a huge pitfall and losing proposition. It took time and wisdom for me to outgrow that mindset. As a young actor I would have done anything to have Heath Ledger’s career. I thought Philip Seymour Hoffman had it all. I wanted to be the next Lawrence Olivier. Now I know better and say without hesitation ‘compare and despair’! I am so grateful that I am none of the above. I have had a wonderful and varied career,and it continues to evolve and expand. Being David Rhodes suits me fine. He is more than enough, which is convenient because at the end of the day that’s my only option.
What gives you inspiration?
I tell people I have an expressive disorder. If I’m not actively engaged in creating art, whether it’s writing, painting, singing, dancing, of getting my hands in clay, I think I would literally go mad. The inspiration is constantly festering inside me waiting to burst out. I don’t know how else to say it. Some people, I imagine, experience the world in a linear quantitative way. They have specific goals and an agenda and follow a logical path to achieving them. My path is constantly meandering and expanding. The trajectory changes constantly and the inspiration or catalyst for those changes could come from a myriad of sources, a conversation, a book, a television program, a household pet or another artist’s work. I don’t know what will inspire me next, but I know it will take me somewhere new and exciting and then it’s on to the next! For me the creative process is in constant flux, and I find that thrilling.
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| Photo by Michael Lee Stever. |
What do you hope people take away from seeing the show?
I’d like the audience to leave the show feeling refreshed and hopeful. The closing song of the show is Louis Armstrongs classic What A Wonderful World. Despite all the confusion, controversy and hardship of 21st century life, I believe it really is still a wonderful world. Life and music and laughter are precious gifts even in dark times. If the audience could leave the club with an inkling of that sentiment, then I’ve done my job.
Where can audiences see the show?
We will be crooning our hearts out and have you swooning 16th April at 9:15pm at CRAZY COQS in Piccadilly. Brasserie Zedeloffers an amazing dinner in the restaurant beforehand if you want to make an evening of it. The location is 20 Sherwood Street, London W1F 7ED
https://www.brasseriezedel.com/events/soir-noir-a-nightclub-confidential/
https://www.brasseriezedel.com/events/soir-noir-a-nightclub-confidential/
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