RIKI LINDHOME: DEAD INSIDE

Soho Theatre

★★★★★

“a standout piece of theatre comedy that nails the laughs while landing something far deeper”

Riki Lindhome – perhaps channelling her inner therapist from hit series ‘Wednesday’ – turns the lens on herself in ‘Dead Inside’, a raw, razor sharp rollercoaster about female infertility – one of society’s great taboos. Having broken out in comedy duo ‘Garfunkel and Oates’, Lindhome’s stunning first solo show commands real laughs, real tears and a really important conversation.

Motherhood sure is tough, but becoming a mother can be even tougher. Lindhome’s brutally honest account of her own journey captures the highs, lows and losses with her signature sweet yet savage style.

Lindhome nails a tightly crafted mix of humour, whimsy and emotional depth. What begins as a frothy Disney esque confection quickly reveals hidden layers. It’s impressively tight, with some hilarious callbacks and absolutely no loose ends. And Lindhome’s not afraid to laugh at herself either, with some exceedingly self-deprecating moments. But the show’s real power lies in Lindhome’s honesty. She keeps things grounded, nudging us to confront uncomfortable truths with clarity and care – whether she’s dismantling male centred media or calling out toxic behaviours in beloved movie classics. It’s all handled with such grace and wit, you can’t help but walk out with fresh eyes (or at least wet ones – bring tissues!).

Lindhome’s delivery is utterly hilarious, with impeccable comedy timing, effortless audience work and total command of the room. She’s a master of pacing, bouncing through lighter beats before pulling back for real introspection. In the deepest moments, you can feel the audience holding their breath. It’s true she “breaks the rule” by laughing at her own jokes, but her warmth is undeniable and endearing. In fact, the relentlessly delusional optimism she keeps referencing makes her pain bearable – for her and for us. At the emotional crux, she delivers a devastatingly tender song for her lost daughter and it’s impossible not to be moved.

Of course, it wouldn’t be a Lindhome show without music, and she rewards musical theatre lovers with multiple easter eggs. The songs are sharp, mature and as cutting as ever, filled with self aware wit and sly cultural digs, from doing Baroness Schraeder dirty in ‘The Sound of Music’, to framing motherhood as a woman’s ultimate destiny. Lindhome’s breathy singing style is a brilliant contrast to the barbed lyrics underneath, and she shows real skill across multiple instruments.

Director Brian McElhaney gives the show real polish and momentum, even playfully leaning into the egg themed double entendres. The 80s rock anthem to hysterical women could perhaps use a touch more energy (and maybe an electric guitar?), but overall far surpasses the comedy show format, landing as a full blown production with striking theatrical flair.

The design team really delivers. The video work is spot on, whether it’s perfectly timed smiley faces or an epic ‘Sound of Music’ montage. The lighting and sound design track the show’s shifts beautifully, matching the energy beat for beat. Lindhome’s bold red outfit helps her command the stage, and the tech team proves their worth when she jumps a line and loops back, the video remaining perfectly in sync throughout.

Lindhome’s ‘Dead Inside’ is a standout piece of theatre comedy that nails the laughs while landing something far deeper. Despite the heavy themes, Lindhome’s sensitive writing and grounded presence make you feel completely held. It’s a show not to be missed.