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This article examines the genesis, making processes and performance choices of  Cake Daddy , a queer and fat-positive live performance work (Belfast, Melbourne, Sydney, 2018–19). The show was made in response to performer-creator Ross Anderson-Doherty’s experience of shock and fatphobia in the audience’s reaction to his naked fat body in a previous production. This experience – and the unpacking of it – proved a catalyst for Anderson-Doherty to respond in the best way he knows: through performance and his own form of queer performance pedagogy. Through a Practice as Research methodology we, who are also members of the  Cake Daddy  creative team, trace the queer and “fat” dramaturgical choices within the creation and staging of this fat-positive and celebratory production. This includes the hybrid cabaret-theater form of the production, its (at times) conversational/dialogic mode, the visibility and participation of audiences, the virtuosity of Anderson-Doherty’s singing and hosting, the sharing of deeply personal material, the flaunting of fat/ness and fat sexuality onstage and the shared act of committing to a fat-positive community pledge: all of these, we assert, lead to a fat-queer utopian performative moment. Borrowing from queer theory’s move to see queer as a verb, rather than a noun, Anderson-Doherty’s co-option of fat as a  verb  has brought this forth: Anderson-Doherty “fattens” the space – and in the performance’s final moments he teaches audiences to conjugate that verb together as a temporary community.

Baking Cake Daddy : transforming fat-phobia to fat-positivity with a slice of fat-queer subversive fun to fatten the stage