Well, this one comes from left field. It’s a mash up of love, real love, for Dolly Parton (in which her legendary breasts feature very prominently and not just in the image above – from near the show’s conclusion) and the fact that Dolly the Sheep (named after Dolly Parton) was created near to Summerhall in the Rosslyn institute. Given that Summerhall was previously a Veterinary School this is perhaps also appropriate.
The cloning theme is developed by showing the veneration Dolly Parton creates with clone fans galore (famously Dolly herself entered a Dolly Parton lookalike show and lost).
We are left in no doubt that Sh!t Theatre’s two players, Louise Mothersole and Rebecca Biscuit, are lesbian lovers and their love for each other and of Dolly Parton (not uncommon in the gay world as I realised with no uncertainty when I was in the crowd for her legendary Glastonbury legends gig) was a relationship-saving writing project.
Their love for Dolly has no bounds and this reunited them and has led to a totally insane celebration of her life during which the ridiculous treatment she received from the media, focussing largely on her looks and her assets, is ridiculed.
But also her own sexuality is deeply questioned. Was her great friend Judy really her lover?
I liked the way they used the 1977 Barbara Walters interview with Dolly as a narrative musical device that was a recurring theme in the show, supported by a neat live music loop.
I suppose more questionable was the way they cut their vest tops to expose their breasts for most of the show. It might make some of the more strident feminist wing of their devotees uncomfortable, but I was fine with it.
Some of Sh!t’s performance is shambolic (the balloon bursting scene for example) and wilfully amateur in its look and feel (a fair bit of corpsing occurs) but that’s all part of its charm. And I have no doubt it is intended.
I loved it. My wife hated it.
I guess that’s part for the course.