Misfit Cabaret’s Cinephilia Delivered a Cult Classic Fever Dream
Misfit Cabaret’s Cinephilia returned to San Francisco last Friday for the first time since its debut eight years ago and I was there for it. It was everything you’d imagine: a madcap homage to cult cinema and its gloriously strange and unhinged characters, including Alex DeLarge and his droogs from A Clockwork Orange (a personal favorite), Edward Scissorhands, Frank the Rabbit from Donnie Darko, and Audrey II from Little Shop of Horrors to name a few.
Led by beguiling chanteuse and master of ceremonies Kat Robichaud, Cinephilia was at once campy, raucous, hilarious, surreal, soulful, sexy, beautiful, and ridiculously fun. It was so good, I think it might have been the best Misfit Cabaret performance I’ve seen yet – and I’ve seen my share.
As soon as my partner and I sat down and noticed two Sisters of Perpetual Indulgence at the table next to ours, we knew we were in for a good time. We could feel the excitement in the air as people, some dressed as their favorite cult movie characters, filed into their seats.
The show opened with a blessing from the Sisters, followed by a playful opening number by Misfit Cabaret’s music director Brendan Getzell. Then, seemingly out of nowhere, Robichaud literally rolled onto the stage in full Alex DeLarge mode, followed by the Darling Misfits as the droogs: white shirts, suspenders, codpieces, bowler hats, and black-ringed eyes. It was pure A Clockwork Orange-style madness.
As quickly as we got swept up in Alex DeLarge’s mayhem, the Darling Misfits transformed from droogs into the Soggy Bottom Boys (in full droog wear), donning beards and mustaches, and gave us a perfect rendition of “I am a Man of Constant Sorrow” with Brendan Getzell channeling frontman Ulysses Everett McGill. We were barely a half-hour into the show, and I was on the edge of my seat.
Things only got weirder and wilder when JessiKr appeared as Frank from Donnie Darko and delivered a spellbinding burlesque performance while Robichaud, who had returned to the stage as Jessica Rabbit, sultrily crooned “I Touch Myself.” After Jessikr’s act, Robichaud slipped fully into character, belting out a smoldering “Why Don’t You Do Right?” without missing a beat.
The energy stayed high as Yayah took the stage, nailing the role of “Mom” in Serial Mom’s infamous prank phone call scene. Then, in a dazzling turn, Robichaud became Lili Von Shtüpp, strolling through the crowd and belting “I’m Tired” from Blazing Saddles with perfect deadpan.
For me, one of the night’s most mesmerizing moments was when Luna Finn as Hedwig rose into the air for a transcendent aerial routine set to “Wig in a Box” and “Midnight Radio,” carried by Robichaud’s soaring voice. It was a breathtaking performance: raw, luminous, and full of heart.
As the final notes drifted down, the lights shifted, and the show pivoted once again, this time into a full-on dance party, a Misfit Cabaret tradition. The crowd mingled with the Sisters and cast onstage, turning Great American Music Hall into a joy-fueled celebration.
But the surprises weren’t over. In the second half, Lady Satan embodied Mommie Dearest in a burlesque breakdown that was both campy and terrifying (in the best way). Florence Frightengale took to the stage as the Penguin from Batman Returns, snarling Kate Bush’s “Running Up That Hill” with full theatrical flair in a dark and ominous soliloquy that left me rapt.
Then there was a glam-punk mashup of American Psycho and Little Shop of Horrors, starring Robichaud and Audrey II with help from Shadow Circus Creature Theatre.
Later, Robichaud reappeared as Edward Scissorhands, performing her hauntingly beautiful original song “White Snow, White Dress,” before launching into a duet of “Time of My Life” with Getzell, scissors still on.
But wait! There’s more.
The night officially “ended” with a second dance party. Robichaud sang “Don’t You (Forget About Me),” as audience members sashayed and shouted along on stage. And just when we thought it was time to head for the exit, Robichaud returned for a stripped-down and intimate encore that stretched nearly another half hour, taking requests from the audience and chatting with us as if we were hanging out in her living room.
What followed felt like a personal serenade to the crowd: a heartfelt duet of “Suddenly Seymour” with Getzell, “The Origin of Love” from Hedwig and the Angry Inch, and Robichaud’s own Ouija Board Song, followed by her beautifully raw Anxiety Song. It was the perfect ending to a night that had already given us everything plus some.
As always, Misfit Cabaret did so much more than entertain. Cinephilia left us dazzled, disarmed, and wondering when we could come back for more.
The not-so-good news is that Misfit Cabaret won’t be performing again in San Francisco until September. The great news is that Robichaud and crew will return to Great American Music Hall September 12 to celebrate 10 years of Misfit Cabaret magic. Do yourself a favor — don’t miss it.
In the meantime, you can catch them in Whimsea, May 22-24, in Seattle.
Howdy! My name is Katy Atchison and I'm an Associate Editor for Broke-Ass Stuart.
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