CAKE | IMRSE
IMRSE took me on an unexpected journey this week: they dared to make beheadings camp. Given the context, it shouldn’t be such a stretch of the imagination considering that Louis XVI is well known to be the second campest French King, following Louis XIV who literally made himself a sparkling sun in an opera. CAKE delves into the life of the notorious Marie Antoinette who, in this new re-telling, was simply trying her damn best.
Before Antoinette, portrayed by Ruby Shannon, graces the stage for the first time, we find ourselves primed to condemn her. We are introduced to the image of a decadent, cruel, and ignorant queen, setting the initial tone for our perception of her character. As the show progresses, however, Antoinette evolves into a more tragic figure, reluctantly assuming the role of the villain she never desired or intended to be. While remaining inherently flawed, audiences are given glimpses a more sympathetic Antoinette, challenging the version of her embedded into history books.
Under the skillful direction of the creative team, CAKE ingeniously blends history with modern sensibilities. The script is brimming with sharp wit and humour, effortlessly infusing the story of Marie Antoinette with contemporary references and social commentary. The writers, Dan Gough and Emma Churchland, cleverly mirror the sometimes absurd nature of cancel culture, urging audiences to question the concept of collective judgement and its consequences.
Although the script maintains a mostly fast-paced rhythm, the overall show feels a tad too long, with certain scenes dragging on. For instance, the financial advisory scene features all four ensemble members delivering lengthy statements on why taxing the rich is a bad idea because they, *boohoo*, wouldn't be able to attend as many operas or parties. The comedy of this scene felt somewhat forced and repetitive. I felt that this scene could have been condensed while still maintaining the desired impact.
The stage design was a playful blend of decadence and minimalism, effectively utilising striking visual elements to highlight the stark contrast between Antoinette’s lavish lifestyle and the realities of the outside world. The costumes were phenomenal, vibrant, and exuded a predominantly pink hue, transporting us to the opulence of a rave-like Versailles.
While all the actors and characters exude comedic brilliance, Caitlin Dooley deserves special mention for her impeccable comedic timing and captivating performance. She skilfully steers the narrative in the desired direction, expertly balancing moments of seriousness with well-timed comedic relief, allowing the audience to reflect before breaking the tension.
The two dance numbers were truly enjoyable, but the energy of the audience slightly diminished their impact, making them feel somewhat awkward. These, along with several other scenes, would benefit from a rowdy crowd and I truly hope that the weekend crowd is ready to give this cast the energy they so deserve.
This extravagant new work by IMRSE is a feast for the senses and an unapologetic exploration of cancel culture and the concept of an invariable history writing itself. Expect no less than extreme over-dramatics–in the best way, I promise! CAKE is hilarious, sexy, and high energy, offering a deeply satisfying way to spend a night out.
