Musicals Mayhem

Performed as part of the Auckland Live Cabaret Festival

Get ready for a serving of Do-Re-Mi with Hi-La-Ri-Tea. A decade on from appearing in the very first Auckland Live Cabaret Festival, the incomparable Le Gateau Chocolat returns more delicious than ever.

Musical Mayhem returned to the Auckland Live Cabaret Festival with Le Gateau Chocolat revisiting a show that has been part of his career for many years. The advertising promised a night of musical theatre chaos, drag, glamour and big personality. It suggested a fast, energetic performance filled with familiar show tunes, costume changes and theatrical humour. What unfolded on stage was different in tone, pacing and atmosphere, creating a night that felt more reflective than chaotic.

The show opened with a strong vocal moment that reminded the audience of Le Gateau’s well-known voice. His tone is deep and resonant, and he has a natural ability to fill a room with sound. The first number landed well, and the audience responded with enthusiasm. After this, Le Gateau stepped forward and explained that the show had been downscaled due to recent health issues. He shared that he had experienced serious complications earlier in the year, and that many elements of the original production had been removed or softened to make the performance manageable.

This announcement shaped the rest of the night. Instead of a high-energy cabaret filled with rapid costume changes and theatrical mayhem, the performance became slower and more introspective. The set design was colourful and inviting, resembling a glamorous walk-in wardrobe filled with costumes and props. These visual elements suggested a show built around spectacle, but the performance itself leaned toward quieter interpretations of musical theatre numbers.

Many songs were presented in stripped-back versions. The pacing was gentle, and the focus was on vocal delivery rather than movement or theatrical chaos. Le Gateau used his voice to explore the emotional weight of familiar musical theatre pieces. The interpretations were thoughtful, and the audience listened closely. However, the contrast between the advertised mayhem and the delivered introspection was noticeable. The show moved in a direction that felt more like a personal reflection than a celebration of musical theatre excess.

There were long pauses between songs. At one point, several tracks played over the speakers while the audience waited for Le Gateau to return to the stage. This created a quiet stretch where people looked around, unsure whether this was part of the performance or a technical delay. When he reappeared, he acknowledged the situation with humour, but the shift in energy was clear. The audience continued to cheer after each number, offering support and encouragement.

Le Gateau spoke openly throughout the night. He discussed personal experiences with racial aggression, grief and the emotional impact of recent events in his life. He talked about the physical limitations caused by tachycardia and how it had changed the way he performs. These moments added context to the stripped-back nature of the show. They also contributed to the overall tone, which leaned toward honesty and vulnerability rather than theatrical chaos.

Audience interaction was present, but it varied in tone. Some moments were playful, with Le Gateau responding to cheers and comments. Other moments felt more restrained. When audience members attempted to call out familiar lines from musical theatre songs, the reactions were mixed. Sometimes the contributions were welcomed, and other times they interrupted the flow of the performance. At one point, Le Gateau told the crowd not to attempt singing along. It was unclear whether this was meant as a joke or a boundary, but it added to the sense of unpredictability in the interaction.

There were moments of humour and playfulness. A Little Mermaid number included bubbles and costume comedy. A brief burst of fake snow added a touch of camp to a Frozen song. Le Gateau sprayed an enthusiastic audience member with snow and called it a favour. These moments showed glimpses of the performer’s well-known charisma and theatrical style. They offered contrast to the quieter sections of the night.

The costumes were stylish and creative. Some were displayed on stage as part of the set, while others were worn during the performance. The outfits ranged from glamorous drag pieces to humorous props. However, the connection between the costumes and the songs was not always clear. Some outfits seemed designed for a more energetic version of the show, and their presence created a sense of contrast with the slower pacing.

The props also contributed to this contrast. Puppetry, snow spray, bubble machines and other items appeared throughout the night. They added visual interest, but they did not always align with the tone of the performance. It felt as though the physical elements belonged to a different version of the show, one that relied more on movement and theatrical chaos.

The encore arrived with a familiar musical theatre duet. The audience responded with enthusiasm, grateful for an upbeat moment. Le Gateau joked that the crowd had already received their money’s worth from the opening number, and everything else was a bonus. This comment was delivered with humour, but it also reinforced the sense that the show had shifted away from its original concept.

By the end of the night, the audience left with a mixture of impressions. They had witnessed a performer navigating health challenges, personal grief and the emotional weight of recent experiences. They had heard thoughtful interpretations of musical theatre songs. They had seen glimpses of humour, camp and theatricality. They had also experienced a show that did not match the advertised tone or energy.

Musical Mayhem was not a chaotic cabaret filled with high kicks and rapid costume changes. It was a quieter, more reflective performance shaped by circumstance. The physical elements of the show, including costumes, props and pacing, seemed designed for a version of the production that no longer exists. The performance itself leaned toward introspection, honesty and emotional weight.

There is still potential in the concept. Le Gateau’s voice remains powerful, and his presence on stage is strong. His ability to connect with an audience is clear. However, this particular performance felt like a transitional moment, where the show is adapting to new realities but has not yet found a fully cohesive form.

It was a night with thoughtful moments, quiet stretches and occasional bursts of humour. It was not the mayhem advertised, but it was a performance shaped by honesty and circumstance.

Part of the Auckland Live Cabaret Festival. Find tickets and event info here

Recommended 12+ Contains themes of race and politics

Review written by Alex Moulton