Deck The Stalls, Riverside Studios Theatre Review
Written by Paris for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Breathtaking! That was perhaps the word that could best describe my honest feelings while watching Laura Rea's performance at Deck the Stalls last Tuesday. In case it wasn’t clear already, for those who prefer the short version: Just go and watch the bloody thing! It’s playing for a limited time, and you don’t want to miss one of the sweetest theatrical treats emerging talent has to offer this Christmas.
Written by Lydia Kavanagh and directed by Chloe Cattin, Deck the Stalls offers a sharp, darkly humorous take on the nightmare that is the office Christmas party. Rea commands the stage as Serena, a Geordie stuck in a cringe-filled night of forced fun, all while navigating her first Christmas after her father's sudden passing. Currently playing at Riverside Studios, this anti-panto offers bittersweet laughs, heart, and a relatable take on the absurdities of office life.
Deck the Stalls works well and feels coherent, thanks largely to Rea’s outstanding performance (more on that later). However, the play’s take on the office setting poses a challenge. While the sitcom-like absurdity of office life provides comedic potential, it has been explored extensively in works like (guess what) The Office or even the Severance, which delve deeper into the surreal and/or sociopolitical implications of 9-to-5 life. Deck the Stalls treads similar ground without offering new insights, and Serena’s coworkers, humorously described through her eyes, often come across as archetypes of the genre rather than fully fleshed-out characters. Adding to this, there’s a thematic disconnect between the chaotic hilarity of the office Christmas party and Serena’s grief over her recently deceased father. In addition to this disconnect, neither narrative thread is explored deeply enough, leaving both feeling half-formed. The bond between Serena and her father, in particular, is underdeveloped. A touching moment where she recalls bonding with her dad over The Lord of the Rings offers a glimpse of emotional depth, but it isn’t given the space to grow. Ultimately, we’re left with too little insight into their relationship before we are expected to feel the weight of her loss.
That said, the tone and intention of the writing are well-suited to the story Deck the Stalls aims to tell. Serena’s Fleabag-esque charisma, her tendency to fill the space around her with words to mask her pain, and her nervous yet mesmerising presence all resonate. However, the character lacks the morally grey complexity of similar works. Moments that seemed deliberately placed throughout the play to guide us to some profound revelation -such as the two times Serena felt invisible after her father’s death- are left hanging, unused, as if the play wasn’t sure how to make them pay off. While Serena’s story hints at universal and powerful themes, it doesn’t fully realise them. The play feels as though it’s holding back, avoiding the creative risks and painful honesty that separate great art from the underdeveloped one.
Always preferring to leave the positives for last impressions though, I can’t stress enough how remarkable Rea’s performance is. Again, breathtaking! Both in its positive and darker sense, Rea's undeniable charisma and skill as a performer, combined with the neurotic struggle her character broadcasts to the audience, desperately tries to divert attention (both hers and ours) from her grief and pain (and never really managing), make this character linger long after the show. At one point towards the end, when Serena finally finds a place to feel safe and accepted, and gets a decent sleep for the first time, Rea’s performance deeply moved me -and I’m sure I’m not alone. And that's noteworthy because the important aspects of her struggle were not sufficiently developed earlier in the play. But her performance made us fill those gaps and experience her struggle even though we didn’t have enough to fully understand it. This deserves praise. Cattin’s direction also plays a crucial role here, further elevating the strongest moments of the show. Her direction is subtle but essential in translating the story into emotions.
Considering the demands of a one-hour, one-woman monologue, this show ends up being a triumph and a showcase of what emerging talent and teams can achieve -even with limited resources- if they are given the space and opportunity to share their work.
In the end, Deck the Stalls is a solid piece of theatre elevated by an extraordinary performance from Laura Rea. While the play doesn’t fully capitalize on its potential, its humour, charm, and heartfelt moments make it a must-watch for theatre lovers who appreciate discovering new talent. It’s a testament to the importance of supporting emerging artists, whose work has the potential to shape the future of theatre.
At Riverside Studios until 22 December 2024
★ ★ ★ ★
