5 April 2023
2**
Marie Antoinette has been celebrated in many forms since the departure of her head; theatre, film and stage have elevated her to something akin to a cult figure. Thus ‘Cake’ provides a further slice of this historical icon but uses a different kind of recipe. In the ‘blurb’ for the show, punters are told that the show “promises to re-define our expectations of what a musical can be.” The gauntlet is thrown down.
So, the scantily-clad Queen is bored and wants to see what life is like for the poor ordinary people….. not much admired by the hoi polloi, she gets involved in a plot involving diamonds….. and her downfall comes after a ‘trial’. Well, something like that…I think.
Yes, this is a different kind of show. A combination of dance styles and singing styles accompanied by base-heavy music and nightclub lighting. It is difficult to work out what, indeed, the show actually is; deconstruction is necessary.
The plot, such as it is, is clever and smart, original and fun, but it is paper thin and so superficial as to barely make a mark on the written page. Such brevity can be a blessing, but stretched out into 70 minutes it feels feeble; it needs more depth and detail; the concept could do with a longer running time then; as it is, maybe 20 minutes is all this needs.
At the outset, the character of Jeanne, the narrator of the tale, and a quartet of dancers set the scene and introduce the story; sadly, sound issues drown out the words with music and so we are lost from the word go. Sorry, what is the point of a sung narrative which is inaudible? It’s not good enough. How many times must the same accusation be brought to bear on a musical production?
Marie Antoinette is kookily played by Zizi Strallen who has a great line in facial expressions and a cracking voice – there is something of an underclothed Barbie about her – she is fun to watch. Renée Lamb belts out her numbers in the main – it’s the way of things these days – she can belt well!
The dancing is executed effectively, where crossovers from street dance to ballet happen fluidly, but there isn’t anything particularly new here. The songs also range from rap to something akin to 80’s pop and are well delivered in the main, bearing in mind the previously mentioned issues.
And then, suddenly, it’s all over. Somewhat abruptly. Is that it? Can you feel short-changed by a show of this length?
Some of the audience whoop and cheer throughout…they stand and applaud at the end – something which is the norm for musicals these days whether they are any good or not.
Hidden in here somewhere is the germ of a really good show but this feels like a tryout, an experiment, a work in progress – and if it is, there is huge potential, but it has a long way to go to convince this viewer. It leaves one cold. There is no heart to the piece, no emotional depth and it’s flimsy storyline negates it’s consideration as a musical. It is a piece to view. Enjoy the spectacle.
Without wanting to overdo the cake analogies, this is a show that some will love for what it is, but for me it is lacking vital ingredients and is severely underdone.
CAST & CREATIVES
Zizi Strallen – Marie Antoinette
Renée Lamb – Jeanne
B Terry – Nicole
Travis Ross – Cardinal
Ope Sowande – Ensemble
Megan Bryony Gibbs – Ensemble
Book – Morgan Lloyd Malcolm
Music and Lyrics – Tasha Taylor Johnson & Jack McManus
Direction and Choreography – Drew McOnie
Based on an idea by Paul Taylor Mills
Image – Mark Senior
A PAUL TAYLOR-MILLS PRODUCTION
