Venue: Seymour Centre (Chippendale NSW), Feb 16 – 22, 2019
Playwrights: Ross Anderson-Doherty, Lachlan Philpott
Director: Alyson Campbell
Cast: Ross Anderson-Doherty
When we first meet Ross Anderson-Doherty in his one man show, he plays a success story at Cakewatchers, an internationally renowned weight-loss programme. The performer’s large body is the location on which the farce takes place, as he takes us through a series of absurd guidelines, that claim to help individuals achieve some semblance of satisfaction for one’s own physicality, by becoming thin. Cake Daddy by Anderson-Doherty and Lachlan Philpott is an incisive summation of what is termed “diet culture”, the horrendous relationship many of us have with food and body image; that bottomless pit of cruelty, dealt by the self and by society, determined to infect each of us with an overwhelming sense of inadequacy.
As the jokes and songs pass us by, we see Anderson-Doherty shedding the spokesperson’s plastic facade, to reveal real experiences of a fat person who struggles to find self-acceptance. The disclosures are by no means original or new, but the honesty of the performer’s display of emotion, is channelled by director Alyson Campbell to communicate a remarkable poignancy that turns the show subtly, into a discussion about compassion, both for the self and for others. As Anderson-Doherty oscillates between hating his reflection, and loving the freedom of an emancipated mind, we witness the most authentic portrayal of humanity. Even when we have the answers to life’s big mysteries, there will always be hard work waiting to be done, in order to get through some of the days.
Musical numbers in the piece can sometimes feel extraneous, as we tend to lose a powerful sense of immediacy when Anderson-Doherty drifts into song, but to encounter his exceptional singing voice is an unequivocal pleasure. As comedian, his ability to read the audience is uncanny, and we find ourselves always kept on our toes by his vigilant stage awareness, although some of his pacing can be needlessly languid, in a production that is most effective when manic in tone. Cake Daddy skates close to self-deprecation, but its subject is never humiliated. In fact, we watch him in all his glory, and wonder if he actually shares in our vision of his greatness. However each person comes to dislike parts of themselves, it is crucial that one is committed to finding peace within, even if it proves an endless task.