LE GATEAU: ICONSTHEATRE REVIEW, ADELAIDE FRINGE FESTIVAL, 2015

If you go along to Icons expecting to see a typical drag show, you’ll be surprised, but not disappointed.

Despite the Nigerian born, London boy’s sequined costumes and gargantuan lashes, Le Gateau is not your average drag queen.

In fact, Le Gateau couldn’t be described as ‘average’ at all.

Inviting us into his bedroom to take us through moments of his life affected by icons, the guy in the gown with the beautiful baritone voice presented a warm, yet vulnerable side to himself.

Singing tunes by Elvis Presley, whose music helped him finish the London Marathon, to Whitney Houston, whose music filled his house as a youngster, Le Gateau’s Icons was honest, genuine and often times quite funny.

Sharing stories and songs of moments that touched him, we heard about the death of his performance mentor, the first lover to break his heart, his religious upbringing, and the influence of his father.

The Deluxe is a well-equipped theatre with an excellent sound and technical set-up which works well for cabaret shows like this one.

However, it was impossible to see any of the action in the on-stage bedroom if Le Gateau was sitting down, unless you were seated in the booths or the slightly elevated seats at the back.

Le Gateau’s two-piece band were a perfect accompaniment for his voice and the songs he chose to tell his narrative through, even joining in on the fun and donning a costume for a number.

LeGateauChocolat_Icons_Credit-EliSchmidtThe selection of songs was quite diverse, from show tunes to a hymn, to pop songs and some rock, but Le Gateau Chocolat’s versatility and vocal ability reinvented some old favourites and his rich, velvety voice gave them new life.

Icons is lovely; it’s a walk down the memory lane of an incredibly interesting man, with a beautiful soundtrack and some moments that will make you feel.

ICONS runs February 13 to March 15 at The Deluxe in the Garden of Unearthly Delights. Tickets are available via Fringetix or phone 1300 621 255.

By Libby Parker