The Auckland International Cabaret Festival brings Le Gateau Chocolat to the Concert Chamber this week, all the way from the UK. After a beautiful introduction from the pianist and cellist on stage, Le Gateau Chocolat appears from the back of the room, voice first, and makes his way through the audience. Adorned with a wig, dress, extravagant eye make-up and a beard, Le Gateau Chocolat is anything but what you’d expect. 

The stage is divided between a lush dressing room set up: ‘backstage’; and stage space next to the musicians: ‘on stage’. A clothes rack (named Bruce) housing an array of spectacular costumes divides the two areas.

After his first number, ‘Never Said Goodbye’, Chocolat changes into a green lycra onsie covered in question marks. He tells us that this is for two reasons. 1: at this point in the show people in the audience probably have a lot of questions, like what is this show? Is he a transsexual? Why does he have a beard? Is he a Muslim? Where is his penis? And 2: because, as a man who is constantly judged on his size, colour and sexuality, the stage is where he feels most invincible, hence the superhero outfit.

Chocolat belts out some Broadway tunes (‘Children Will Listen’, ‘Don’t Rain On My Parade’), some classical numbers in more than one language, and does a beautifully pared back version of Radiohead’s ‘Creep’. His rendition of ‘Old Man River’ shows his incredible range, and the lowest notes reverberate through the whole room like a train.

Chocolat’s voice is a truly wonderful instrument, and he uses it as one, displaying skill and complexity of tone, timbre and melodic choice.

This show is surprising. While visually Chocolat is a larger than life character, and musically there’s lots of big impressive moments, the connection he has with the audience and the story he is telling is incredibly open and personal. It is an imparting of wisdom, and a challenge to have the courage to really be yourself. It’s also a reminder that the running man is the best dance move there is (even in a Dalmation suit), and that there’s no such thing as too much lycra.

Le Gateau Chocolat has one more show (Saturday), so get yourself along to this funny and moving show! The festival comes to a close on Sunday which means time is fast running out for you to experience these wonderful performers, and be part of the action for what is sure to become an annual highlight on the theatre calendar.

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Le Gatau Chocolat, a Nigerian-born Londoner, is a drag queen par excellence. His baritone voice is delicious – there is no denying this. But those who may have come for nothing more than an hour of glittery frivolity will be surprised by the light and shade offered up within this intimate hour of song, story and glitter.

The show opens with a goosebump-inducing rendition of ‘As If We Never Said Goodbye’, and goes on to encompass musical theatre, cheesy pop and Italian opera.

Le Gateau Chocolat’s self-description – “the man, the lycra, the complete asshole” – is a bit self-deprecating, and doesn’t account for the depth of emotion encapsulated in the show.  Like much drag, the show is as much about self-discovery and redemption as it is about reinvention and fantasy, and Le Gateau Chocolat offers up autobiographical anecdotes, both touching and hilarious, between the musical numbers.

The show uses the construct of theatre to play with the slippage between performance and reality, public and private, and honesty and façade. This is emphasised by the minimal set; a clothes rack, full of ridiculous lycra costumes and amazing glitzy frocks, also functions as the portal between stage and dressing room. A small dressing table with light-bulb lined mirror is the setting for a minimal and poignant performance of Radiohead’s ‘Creep’, a song that juxtaposes yearning and profound self-doubt.

All that said, the show is wickedly funny and well-paced. Le Gateau Chocolat quickly develops a strong rapport with the audience that allows him to tease, flirt and convince people to assist him in his performances, all without making anyone feel uncomfortable. The show swings from introspection to cheery defiance as easily as it shifts from Streisand to Madonna. 

He is ably accompanied by a cellist and a pianist, who are integral to the show, but who manage to remain largely inconspicuous until they become a key part of the show’s gorgeous and celebratory finale.

Le Gateau Chocolat is high quality cabaret – empowering, intelligent, silly and very moving. One word: fabulous. 

Copyright © in the review belongs to the reviewer