Janet Pharaoh

Published in Print May 2025 order now!
words Margot Beech

There is no denying the strength of love, support and camaraderie felt in the performing arts. A challenging industry that closes ranks to protect our creative family. We have recently lost a much- loved doyen, whose years of nurturing and inspired guidance has touched dancers across the globe.

Born in Yorkshire, Janet started dancing at the age of 5. It started as a hobby but being talented at a good school they become family. In a past interview, Janet stated, ‘You see more of your dance teachers than you do your parents. I was quite tall and early on I knew I wasn’t going to be the greatest ballet dancer.’

However, she kept attending classes and recalls taking the plunge to ring for an audition that would put her in touch with the old greats of dancing.

‘I was 16 and sat in the hallway on the stairs with the phone number. My mother said ‘do it!’ and dialled the number. It was for the Bluebell girls. I auditioned and they wanted me to start straight away in America. I was doing my final exams at school and there was a big debate about never getting another chance, and what happens if you don’t finish school? It was a hard decision, but I took my A levels and the gamble!’

It paid off though, as two days after her final exams, Janet was asked to go to Paris, and that weekend she went!

Janet danced at The Lido and then a contract with the Bluebells in Barcelona before being asked by her Moulin Rouge predecessor Doris Haug, to take a job in Monte Carlo. Two years later, she began her unprecedented journey at the Moulin Rouge.

For the uninitiated, in 1889, the Moulin Rouge was co-founded by Charles Zidler, (yes, THAT Zidler played by Jim Broadbent from the Baz Luhrmann movie) and Joseph Oller. The Clerico family bought the Moulin in 1955, along with The Lido which they founded in 1946. They had successfully established the dinner/show concept. The family tradition continues to this day as the company, Bal Du Moulin Rouge SA. So, from very early on, the performers from both cabaret venues had a close bond.

I was recently in contact with a dear friend and former colleague from the UK, Julie Bitout, who expressed her thoughts about her days at the Moulin.

‘From the day I stepped into the Moulin Rouge until the day I left 10 years later, Janet was a constant presence. Always there to reassure with a no nonsense but deeply caring approach. Her laughter resonated from her loge (dressing room) to ours, lifting your mood if ever your energy levels were low. She was always my dance captain, my colleague, and my friend, and I’m proud to have been part of her amazing story.

‘The Moulin Rouge will not be the same without her but it was all the better for having her. You have left your mark beautiful Janet on so many and I for one will be forever grateful.’

Marissa Burgess, 10 years her junior, who graced the Moulin stage as their longest serving principal dancer, appreciated her laid-back yet firm guidance. At the time Marissa arrived, Janet was dance captain.

‘I met Janet at 17 and, already initiated into the showgirl industry, went directly under her captaincy. She showed me what was needed specifically at the Moulin. As we were both from working class backgrounds, I appreciated her straightforwardness. Janet was an egalitarian and always gave. It was business as usual with some fun on the side, and always with the show as first priority.’

Janet was considered tall at 5’11” and Marissa quite small. Marissa used to dream of wearing Janet’s peacock costume, which the latter plainly said was never going to happen!

15 years later they were on a panel representing their show on TV and supporting their boss, Doris Haug. Miss Doris casually announced she was retiring and Janet would be taking her role. Marissa remembers, ‘I almost fell off my chair on live television!’

Marissa added

‘Janet had been loyal to Miss Doris for well over a decade and had earned her stripes. She had placed her confidence in Janet to run the company. Janet maintained we would always be called the ‘Doriss Girls’ after our founder.’

Miss Doris established the ‘Doriss Girls’ in 1957, initially comprising of four girls and later expanding to 60. The core part of the modern Moulin Rouge shows.

When Marissa left after many years as principal, Janet organised a lavish party in the Moulin theatre. Knowing that Marissa was leaving to take up work as a singer, Janet gave her the opportunity to sing live on the stage on which she had spent so long dancing.

Australian dancers such as Marissa and many of her colleagues really changed the technical and casting landscape of the Moulin Rouge forever. In an unprecedented and bold move, Janet shifted her casting interests to Australia.

‘For years I would go along to Australian auditions and catch up with Janet and her team while they worked. Her casting process was interesting and at times baffling for those involved, yet she always provided the hundreds of hopeful showgirls a really good class and a great time, opting to do the main cuts very late in the day. Her auditions were very humane and fun. I always marvelled at her seemingly endless energy. Janet would think nothing of flying into town, holding a five-hour audition, then driving for ages to spend some time with me at home.’

‘Janet always lived large and didn’t sweat the small stuff! I can’t imagine the Moulin Rouge without her and it probably won’t hit me till I’m back here one day. Hanging out with Janet in her office, made me feel like I was back at home.

When another Aussie dancer, Natalie Benzan joined the Moulin, she was the youngest by a few years.

‘Janet was beautiful, kind and supportive. She didn’t overwhelm or pressure you and made rehearsals positive and fun! She was never judgemental and always remained one of the girls. My fondest memory was her innate kindness and making everyone comfortable at work, her greatest gift.’

Lisa Bennett, also from Oz, says her ultimate dream was to perform at the Moulin Rouge.

‘Janet believed in me enough to offer opportunities beyond the ensemble. Under her guidance I was entrusted with small soloist roles, dancing with the python, miming on the magic carpet and given the chance to swing and trial as dance captain. Janet was a force of nature. Strong, confident and fiercely dedicated. Her unwavering passion for the show and its dancers was undeniable, and her infectious energy left an indelible mark on everyone around her, including me. I absorbed her strength and drive, carrying them with me throughout my career. Because of her, I went on to perform in shows across the world and here at home. I now have the privilege of passing on that passion to the next generation of dancers.’

‘Janet was an icon, a workaholic in the best sense and the heartbeat of the Moulin Rouge. Her influence shaped not only my career but my character. The Moulin will never be the same without her but her legacy will forever live on in the dancers she inspired.’

Corina Burgess, much lauded as the 10,000th Bluebell and principal at The Lido for many years, is Marissa’s older sister. Corina worked with Janet at the Lido before she left to work for Miss Doris.

‘Janet and I were ‘old school’ dancers from the ‘80’s. We learned so much from Miss Bluebell at the Lido. Miss Doris also looked up to Miss Bluebell. They were both a force to be reckoned with in the industry.’

‘Janet, like Miss Bluebell, had that knack for knowing people well. It came from years of experience. Shows, dressing rooms, parties, it comes from liking people, listening to them, being open and honest and seeing their potential before they even saw it themselves. Janet gave freedom to dancers in auditions. She openly showed them how to ‘shine’, be brave and to ‘step outside’ dance class boundaries, all in her beautiful ’down to earth ‘way. Always with honesty, fun and kindness. Quirky is a better word for Janet. Quirky and kind. Janet was the hardest working person I know!’

The mutual respect Corina and Janet had, stemmed from a great work ethic they shared, which developed into a lifelong friendship.

‘Every time Janet and her family visited Australia, it was always easy. Taking them to see Kangaroos, countless barbeques and fun times. When I visited Paris, she spoilt me over and over when I visited her dear Moulin Rouge.’

Continuing the family tradition, Corina’s daughter, Savanna Haenel also featured as a principal at the Lido. Savanna visited Paris with her mum from a young age and the two families grew very close. Savanna fondly remembers home cooked meals, playing pranks on each other and fun, fulfilling get togethers.

‘Janets passing was an incredible shock personally and professionally. It never crossed my mind that there would be a world without Janet. She was always a constant figure, even through major changes in life and show business.

‘The last time I saw Janet in Paris was at the Moulin in her office after I had auditioned. She told me I could begin rehearsals but because I was contracted to the Lido at the time, I wasn’t able to pursue the offer. Nonetheless, she made many thousands of peoples dreams a reality.’

‘Janet had a feisty character, a spirited flare for life, a whimsical mind and a warm, energetic soul. She had compassion for all those in her presence and deep down, always rooted in love. She cared deeply about her work, life and family. She knew how to tease you playfully and make an audition meaningful.

‘Janet will be very deeply missed. I always admired her, respected her and appreciated ever minute of the times in my life I got to share with her.’

In a past interview Janet rejected the idea that the Moulin Rouge had lost its spark and had become out dated, saying it had modernised but kept its historical essence.

For the last 20 years it has been the job of Janet to oversee one of the worlds’ most famous Cabarets. From costumes to dancers to choreography , to the craftsmen who make the feather costumes and handmade heels while navigating the French bureaucratic system. She discovered, trained and accompanied thousands of artists recruited from all over the world, passing on to them her love of dance and the stage.

In his tribute, the President of the Moulin Rouge, Jean-Jacques Clerico said, ‘Her unwavering commitment to the artists and the teams around her, her kindness and her passion, will leave an indelible mark on us forever. Her artistic team will continue her creative vision to honour her artistic legacy.’

It is only fitting to conclude with these words from Corina.

‘If only you could see the outpouring of love to you from around the world. You created this international love and it says everything about you.’