Seeing Fruitcake as part of this year’s Melbourne Fringe Festivals is a reminder of what Fringe Festivals are all about. It’s about the freedom to celebrate new and developing works. Part of its chaotic charm is performers fiercely backing their work and performing them full-throatedly in any venue they can get their hands on – a reminder to all lovers of theatre where all great works begin, at a grassroots level.
A second mounting after debuting at The Butterfly Club earlier this year, Fruitcake by Jamiee Doyle is brimming with potential! This one-woman show follows a university student who becomes fixated on an alluring and at times quite off-putting classmate.
As their lives entangle, Fruitcake begins to question the nature of their relationship. From tutor and student, to friends, to maybe something more? A tasteful 40-minute show centred around themes of queerness, coming of age and neurodiversity.
Amanda King is awkwardly charming as Fruitcake. She not only held the room with her presence, but she also had the added challenge of battling against the sounds of other gigs within The Motley Bauhaus. Efforts to soundproof this addition to the venue have been futile as audience members could still hear a band playing from a room across the hall, and a quiet lively conversation between two staff members outside the theatre’s door.
Nevertheless, King kept her cool. Finding her stride, and giving a commendable performance. The stand-out moments are the initial flirtation between Fruitcake and the mystery girl, references to exceedingly long movie names, Shonda Rhimes and the final act.
From a technical standpoint, Fruitcake had some challenges. Incorporating discombobulated voices of other characters through speakers, which apart from an initial fumble at the beginning was handled well and became quite striking in moments as the show progressed.
The stage being only around a meter wide was another creative challenge, which thanks to director Eleanor Golding to help with restaging, allowed King to still have variety in her performance. Recurring locations within the story were easily identified, thanks to this blocking and a colourful lighting design.
Fruitcake holds a strong structure giving the audience a satisfying ending. However, we were left wishing that the important revelations were discovered earlier to allow them to impact the audience more. References to Fruitcake’s scar; an important part of the play’s dramaturgy, were only referenced at the beginning and end while being overlooked by more antagonistic characters throughout the show.
This could have aided the audience to learn more about Fruitcake as a character. Her allure for this woman carries the story along but we are left wondering what drives Fruitcake’s intentions. Is it love? Is it a need to protect her? Or is she unaware of why she is even drawn to her?
Similar could be said about the nameless woman of Fruitcake’s affection. It is clear that she is written to be mysterious and brazen; her actions raise questions of being neurodiverse, with references to being non-verbal at times, periods of mania and weighted blankets. But we remain wondering what her other qualities are, or is she just simply a character for Fruitcake to save?
This is what the Fringe Festival is all about. A celebration for showcasing work to wider audiences and overcoming the added challenges that smaller venues present (taller audience members be warned! The seating in The Motley Bauhaus ‘Cellar’ is tight!).
There is much to love about Fruitcake. King, Doyle and Golding should all be applauded for their passion and creative efforts to solve problems around elements out of their control. We look forward to seeing what they do next.
Fruitcake
The Motley Bauhaus, 118 Elgin Street, Carlton
Performance: Monday 30 September 2024
Season continues to 6 October 2024
Bookings: www.melbournefringe.com.au
For more information, visit: www.fruitcakeproductions.com for details.
Image: Amanda King – photo by Hannah Jennings