The Theatre in the Round’s adaptation of “The Cake” by Bekah Brunstetter explores what happens when old expectations meet new realities, some of which go against everything you stand for. This play was a treat for my romantic side, but lacked some extra pizazz and intentional writing to reach its potential.
The play opens when Della, a renowned Southern baker, is asked to bake a wedding cake for her late best friend’s daughter. Della’s Christian values are challengedwhen she finds out that her dear Jenny — now Jen — is not marrying a “he,” but rather, a “she.”
Inspired by the real-life court case of Masterpiece Cakeshop v. Colorado Civil Rights Commission, Director Jennie Ward invites the audience into this tension-filled play. In her director’s note, Ward asks audience members to think about what it means to change and hopes that they “might just find something sweet in the end.”
This over-two-hour production explores themes of religion and sexuality within relationships and shows that while weddings are meant to be a time of sweet celebration, more often than not, they can never go completely by the recipe.
Della, played by Jenny Ramirez, undergoes a series of challenges as she weighs whether to make a wedding cake for Jen, played by Via Logan, and Jen’s future wife, Macy (Natavia Lewis).
Ramirez’s bubbly personality in the opening moments of the play acts as a cover for what turns into many moments of deep reflection as her personal conflict unfolds. Does she make the cake for her dead best friend’s daughter? Will she and her husband ever be intimate again? These are just some of the many questions Della desperately wants answers to.
Viewers have a special treat of looking into Della’s subconscious, as seen through the lens of a fictional reality TV show, the “Big American Bake Off.” Della is set to compete, but the host, George, played by Kjer Whiting, forces her to confront her deepest fears through sugar and spice. Whiting’s costuming increased in ridiculousness and flamboyancy with each appearance, which I found incredibly amusing. The juxtaposition between his carefree, poised aura and Della’s internal panic was a great touch that helped break up the plot well.
I felt myself drawing deeper into the love between Jen and Macy. Lewis’ depiction of Jen’s headstrong, overprotective “woke” partner provided a great contrast to Logan’s dutiful nature. Jen’s overwhelming desire to please her dead mother and the responsibility she feels toward beliefs she no longer holds is a key point of conflict in their relationship that continues until the end of the play. Macy simply wants Jen to do what she wants and embrace her sexuality and not feel like the eyes of God are watching her in her “sin.”
I was surprised by the sexual content of the play, to say the least. While there was a content warning, the unexpected use of buttercream as a bra left me giggling. Within these moments, pop music rudely interrupted what I thought was going to be a quiet, intimate scene.
One part in particular that felt overbaked was Macy’s dialogue, which at times, felt like a plethora of woke vocabulary that was thrown at a dartboard. It was clear that Della and Macy’s characters had some serious ideological disagreements, but Macy’s remarks at times left me sighing. At one point, Macy has a laundry list of identities thrown in a single sentence of being a “black, queer, agnostic woman,” which felt inauthentic to consume all at once.
In all, this play was an easy watch that made me contemplate what it means to truly love someone for who they are. If you are looking for a play that treats your inner romantic, or you’re just looking for some light-hearted baking humor, this is a play that will satisfy your craving.
“The Cake” will play from Feb. 20 to March 15 at Theatre in the Round.
Grace Woelfel can be reached at woel8456@stthomas.edu.
