Following months of research, artist and performer Marijke De Roover enters production on her most ambitious work to date, The Feast. Conceived as a Brechtian post-porn chamber piece masquerading as a musical, the work transforms the erotic into political theatre, an opera of revolt in which class warfare is staged through the lexicon of BDSM. Set in a decaying mansion that refuses to release its masters, a bourgeois family performs its own demise while the servants, maids, cooks, waiters, a stable boy — observe, mimic, and ultimately weaponise the tools of their trade: riding crops, knives, silver spoons, and silence.

Part musical, part Marxist fable, The Feast uses the grammar of desire to expose the machinery of exploitation. Songs of servitude twist into revolutionary anthems, humiliation becomes pedagogy, and pleasure itself is turned against the structures that contain it. Drawing on Brechtian alienation and the aesthetics of pornography, De Roover dissects the performance of power, who serves, who commands, and who enjoys, reimagining erotic spectacle as a theatre of class consciousness.

Minimalist yet excessive, absurd yet deeply sincere, The Feast is not a story of liberation but of role reversal, a ritual staging of collapse where revolt and repression blur into one ecstatic choreography. Both cabaret and coup, pleasure and punishment, De Roover’s new work extends her ongoing investigation into performance, gender, and the politics of spectatorship, cementing her position as one of Europe’s most fearless and incisive voices in contemporary art.