CAKE

CAKE by IMRSE creative duo Daniel Gough and Emma Churchland is entertaining audiences at Metro Arts Theatre this November, and it’s hot, hot, hot! Set in the wild, reckless world of Marie Antoinette’s Royal Court, this outrageous show follows her down a glittering spiral of wild parties, scandalous blunders, and jaw-dropping decadence - all leading, inevitably, to her infamous beheading. But don’t expect a dry, historically accurate account, stained with noble blood. CAKE is here for a good time baby.

Returning to the stage after a long hiatus, Meg Ham as Therese sets a cracking pace right from the start. You know you’re in for a rollicking night of theatre from her spirited and hilarious opening monologue and the subsequent dance routine with Marie Antionette (Samantha LeClaire) and the ensemble cast. What follows is a Brechtian representation of the sumptuous chaos of a society teetering on the edge and a young queen dogged by rumour and scandal in a world where reputation is everything.

Beneath the layers of ruffles and over-the-top revelry lies a timely and biting commentary on modern issues like the rise of cancel culture, misinformation, and the unstoppable power of public opinion. The show’s playful extravagance masks sharp reflections on the greed of the wealthy, the crushing cost of living, and an elite class out of touch with reality—a story that feels all too relatable today.

The creative team of Gough and Churchland appears to have drawn some inspiration from cinematic triumph Barbie, TV series The Great, and the 2006 film Marie Antoinette and it works exceptionally in their favour. I love Gough’s art direction. It’s a striking and enjoyable choice to costume everyone in fuchsia and Barbie pinks and have key set pieces and lighting in the same hues. It always makes for a memorable production when strong choices like that pay off.  

But looks aren’t everything. CAKE has a brilliant script that’s dark and funny and packed with clever dialogue that frequently breaks the fourth wall. The cast adlibs beautifully throughout too as you are invited to engage in non-threatening interaction with the players. CAKE demands you put historical accuracy aside for the sake of entertainment. That choice allows IMRSE the freedom to include anachronisms that heighten the comedy and relatability.

Staging wise, the use of platforms and the choice to create a thrust in the stripped back black-box space with a small proscenium area at the rear keeps blocking interesting. The lighting by Steven May is very effective and music choices really support the mood of a Kingdom ruled by a king and queen too young and naïve to save themselves and their people from a terrible fate.

The casting is sound and there is excellent teamwork and trust among the performers. Ham and LeClaire really are the heart and soul of the play, and they work exceptionally well together to keep it beating strongly. They have great energy and commitment that doesn’t wane. Calum Johnston as King Louis uses his top shelf clowning skills to great effect for this character. The supporting ensemble is bursting with charisma and dedication. Josh Richardson and Evie Ford both really stand out with impressive dancing, charisma and risk taking.

Exciting, bubbly, sexy and fun, CAKE serves up a daring slice of dark satire, perfect for lovers of edgy humour and camp theatricality.

Kitty Goodall

Photography by Red Anchor Media