British Theatre Guide **** review

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“Sarah-Louise Young moves from two highly successful years on the Free Fringe to the Underbelly in her latest one-woman cabaret show and it’s a sparkling performance as is the dress she wears in her first persona as Bernie St Claire. She sings with experience of the nightclub circuit, all sultry and sexy yet washed up. The next Diva Young plays is Karsha the Eastern European, seductively dressed in a purple cat suit and suitably feline in her delivery. She tells the packed audience, “I came to work in the sex industry but no job so I work in a primary school.” A new character is Baby Doll and her Doll, child star of the cult TV hit Rainbow Creek, treads the fine line between the innocent joys of childhood and the dark comedy of a small girl who refuses to grow up. Her final Diva is the tortured French chanteuse La Poule Plombée, complete with kitchen knife and suffering from clinical depression. All Young’s characters are delivered with style and a certain savoire-faire. She is highly entertaining with a talent that simply oozes with confidence. This is a captivating hour of cabaret at its very best.” Robin Strapp

West End Whingers **** review

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“Sarah-Louise Young, who is currently 33.3 (recurring) % of the fabulous Fascinating Aida is certainly working her arse off on the fringe. This hour long show Cabaret Whore: More! More! More! sees her playing a series of four divas (some generic, others cheekily based closely on real-life ones) before shooting off to join FA at another venue a mere 45 minutes later.

With barely a night off and a month of two shows to perform you really do wonder why some performers in the West End who may only have a few big numbers per show can’t manage eight shows a week.  You know who you are.

We enter the auditorium and are individually and hilariously greeted by Young in character as Bernie St. Claire (blonde but not a lisping stone’s throw from Liza) before seeing her set succeeded by the the other characters including her final one – a fabulously gloomy knife-wielding bitter French chanteuse called La Poule Plombée (the frumpy pigeon).

What’s even more impressive is that Young has written the material herself and not only is her performance remarkable but the material is laugh-out-loud funny. The pastiches of musical styles are spot on (composer Michael Roulston) while the show cleverly and subversively deconstructs the whole performer/audience relationship. Rather brilliant.”

Review by West End Whingers

The Stage review

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“Strutting needily about the house as her audience enter, Bernie St-Claire is just as you would remember her if she existed. Those limpid eyes, that willingness to please and the glittering costume that just drips off her. Her voice – once the lights are down and she has settled her audience – is pure nicotine and black coffee.It is Sarah-Louise Young’s attention to detail in her creation of her four archetypes of the stage which makes Cabaret Whore such a treat. She establishes a persona and works the audience in characters who are as sharp as they are tragic.

A quick-change creates Karsha, the Eastern European performance artist who came to work in the sex trade but who was lied to and ended up on the stage. New character Baby Doll, the grown-up child star still in her yellow tutu and similarly attired dolly, sings songs so provocative they would be truly unsettling on a real child’s lips. For a finale, there is La Poule Plombee, a depressive and, it must be added, baffling French chanteuse is wheeled out.

Young’s songs for each character are perfectly pitched. MD Michael Roulston’s pastiche tunes are spot on while Young’s lyrics bite as hard as her characters. Great stuff.”

Review by Thom Dibdin in The Stage.

Three Weeks **** review

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“I am warmly greeted with “Well hellloooo beautiful lady” by a glamorous American woman in a costume that, I have to admit, I am very jealous of; it’s a dress that would put Liza Minnelli to shame! We are introduced to four very different cabaret divas in this one woman show, each character with their own hilarious idiosyncrasies, each engaging with the audience in their own special way – there’s an Eastern European neo-cabaret star and a furious French woman to name two. The costume changes are impressive as they are fast, and the singing is faultless. If you’re looking for fun at the Fringe as well as some top quality entertainment, go check out this show. ”
tw rating 4/5 [efs]