By Louise Mothersole and Rebecca Biscuit
Where are they?? What’s wrong? The set is shrouded in grubby white sheets and there is no sign of the girls. The clock is ticking, the theatre is rammed and anticipation is rife. We fucking love Sh!t Theatre! Moments later they hit the stage and the particular bedlam that is Dollywould is underway. This is their follow up show to the hugely successful Letters To Windsor House. There is a notable shift from local to global issues as they ramp up the madness and move from fringe performance to as they cheerfully say mainstream crossover show. Thankfully when Mothersole and Biscuit say mainstream it involves painting their faces chalk- white, donning some fearsome wigs and swigging Mateus Rosé from bottles. The result is cheerfully reassuring as they end up looking just like their idol Dolly Parton. Well if you imagine Ms Parton being cloned together with some sheep, Marie Antoinette and a couple of crack whores. We fucking love Sh!t Theatre.
This new show focuses on some big issues – death and immortality , genetic cloning and brand merchandising, friendship and Dolly Parton’ s hits and tits. Dollywould is messy, boozy, sharply clever and always endearing. Watching the performance feels like sprawling on the couch watching your best mates roll in from the pub on a Friday night having dreamed up some madcap, genius concept and keen to share it before they pass out or throw up.
They use their trademark mixture of song, projection images and film and hard-core indepth research coupled with mimicry, a double swing, balloons and bodybags and giant inflatable boobs plus lots of kissing and hugging. What is “real” authentic and “real” fake? Is Dolly the infamously cloned sheep as real as any other sheep? Is Dolly Parton the butt of a joke about big hair and boobs or a woman in control of a carefully crafted brand? Regardless of how they alter their image on stage both women remain resolutely real with body hair, real breasts and filmed evidence that they both poo and wee but don’t seem to flush.
Dollywould is based on their trip to Dollywood last year and the discovery that Knoxville is also home to a research facility locally known as The Tennessee Bodyfarm as it studies decomposition. The premise behind their research visit is sound and the neat ways they use to link in the cloning of Dolly the sheep ensure that lots of ideas are thrown out for consideration. As each performance they do will be a clone of the original, just like Dolly on tour or at a Dolly lookalike competition or future Dolly sheep from the same mammary cells. In each case the same but different just like the projected images stretching out on the screen behind Becca and Louise.
Perhaps at the very heart of this show is the warmth and connection between the performers. In Letters To Windsor House they were painfully open about the cracks in their relationship and there was palpable tensions on stage. The research trip to Dollywood feels like a road trip back to friendship and camaraderie. When they speak of Dolly Parton and her longterm companion Judy and their rift and reunion it seems to resonate. As they say on several occasions It was chaos, but they’re fine now. They are never more connected than when they actually merge to become a gigantic pair of quite literally swinging boobs. Moments when they speak in unison but one deliberately fluffs their line is a reminder of the recurring theme each the same, but different. In the show they reflect on being nearly 30, thankfully they seem to be finding a way to navigate maintaining their individual identities while preserving the magic that is Sh!t Theatre.
HOME 3-5 May