DECK THE STALLS
Riverside Studios
★★★
“a joyful celebration that brings a smile to our faces”
In today’s Google-driven society there are numerous sites on the internet that advise us on the dos and don’ts of that infamous English institution: the office Christmas party. In the past we would just muddle through and deal with the hangover and yearly embarrassment in our own time, with heads bowed low by the water cooler. Lydia Kavanagh’s one act, one person play takes us straight into the heart of an end-of-year celebration, complete with Prosecco, vol-au-vents, cheesy music and all the mixed personality types who put their inhibitions through the shredder for a couple of hours. Even if you’ve never held an office job, Laura Rea’s naturalistic performance in “Deck the Stalls” allow us to relate to the many personalities she portrays.
Rea is Serena, a no-nonsense Geordie from the Byker district of Newcastle. An English Lit graduate who somehow ended up in Milton Keynes as an office worker. Trapped in life she is now cornered on all sides at the party before finding a narrow escape route to the toilet cubicles. There’s Middle Management Maddison who loves to delegate, HR Sandra who loves rules but has ‘gone rogue’ after one too many glasses of bubbly; single mum Chrissie from data analysis, and Dave – the ‘self-imposed’ DJ for the night (nobody asked him to spin the decks); Guardian-reading, ‘morally vegan’, lesbian Ellen. And finally, Steven, the fit dad who cycles to work, thoroughly married but carrying on with Serena in the broom cupboard at work.
It is an office that is built on formula and somewhat clichéd caricature, but Rea gives a freshness to each, deftly switching accents, mannerisms and facial expression. The comedy is all very predictable, and we are wondering where it is going but Rea has a way of engaging with the audience that keeps us waiting. For there is a bombshell – or rather more of a party popper. It isn’t going to bring the roof down, but it does give a twist that leads us out of the humdrum. There is also an undercurrent to the festivities that the writing uncovers. As we follow Serena into the ladies’ cubicle (it’s okay, we’re allowed to do that – it is the office party after all) we see another side to her. It is her first Christmas since her father passed away and for a few moments we glimpse the sense of grief that is buried beneath the armour-plated cynicism. For Serena, being alone is the best way to alleviate her sense of loneliness.
It is the contrast of the raucous humour and the quiet reflection that lend shade to the evening, except the highs and the lows are not sufficiently explored and we find ourselves on fairly level ground. We are unsure of how far Serena has sunk into her sadness or how much focus we should be putting onto it. Serena, too, is not the most sympathetic character so it is difficult to fully root for her. Nevertheless, Rea’s versatility creates a very watchable personality who, under Chloe Cattin’s taut direction, brings to life the chaos of office politics gone astray under the influence of alcohol. Some call this ‘Anti-Panto’. It acknowledges that regret and despair don’t take a holiday – even at Christmas. But “Deck the Stalls” still manages to be a joyful celebration that brings a smile to our faces.
DECK THE STALLS
Riverside Studios
Reviewed on 18th December 2024
by Jonathan Evans
Photography by Jamie McNaught
Previously reviewed at this venue:
THE UNSEEN | ★★★★ | November 2024
FRENCH TOAST | ★★★★ | October 2024
KIM’S CONVENIENCE | ★★★ | September 2024
THE WEYARD SISTERS | ★★ | August 2024
MADWOMEN OF THE WEST | ★★ | August 2024
MOFFIE | ★★★ | June 2024
KING LEAR | ★★★★ | May 2024
THIS IS MEMORIAL DEVICE | ★★★★ | April 2024
ARTIFICIALLY YOURS | ★★★ | April 2024
ALAN TURING – A MUSICAL BIOGRAPHY | ★★ | January 2024
DECK THE STALLS
DECK THE STALLS
DECK THE STALLS
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