Review of ‘Riki Lindhome: Dead Inside’: “Motherhood comedy is impregnated with pathos”

The Big Bang Theory star settles at the Soho Theatre’s main stage with this one-woman piece exploring her real-life struggles with pregnancy through humour and musical theatre. Guillermo Nazara shares his views to let us know if this newly born show is everything audiences are expecting.

There’s only one thing that sucks worse than parenting. And that’s becoming a parent in the first place. I’m a gay man, so I can relate to the ordeal of going through so many frustrating procedures when others with rather questionable suitability for the task can just make it happen at the snap of a finger.

This is no LGBT show, however, but its resonance is universal. And that’s precisely what makes Dead Inside such a lively theatrical experience from its depths and all the way to the surface. It’s a blissful trip down quite a painful route. It doesn’t take a dark turn, but its slopes are steep. And every step of it comes with the uncertainty of everything going completely wrong — just like it did the last time.

Riki Lindhome’s piece brims with poignancy as much as it exudes authenticity. Based on her real-life struggles with pregnancy, her inviting presence and sincere writing turn this work into an intimate confession, where every viewer is a close friend and, ultimately, a confidante.

There’s sharpness to her approach. Its outer layer may come across as sophomoric – we’re talking about the woman who did a lot of spanky, spanky parodies back in the day. Yet, right underneath, there is a story of grievance, overcoming, and triumph.

Her journey is the same as that of a hero from an animated film. She’s made a few tweaks to it, however. And so, it isn’t the straightforward path most audiences are probably accustomed to. That’s part of its magic, too. Add a few parody songs, with not the best rhymes or lyrics but overflowing drollery and feel-good vibes, and you’re all set for a stirring, inspiring, and highly resonant jaunt.

The script moves along at an agile pace. For the most part, the recount is engaging, and the humour never runs out. The punchlines are either witty or deliciously stupid. And in both cases, her excellent delivery makes the whole thing function flawlessly.

A similar praise applies to her musical renditions. She’s not the best pianist— or the best guitar player. Her skills with the flute are much more developed, though — please, keep it wholesome. Nonetheless, she demonstrates competence in all these fields, and her enjoyable vocals make every number teem with flair, showmanship, and emotiveness — whether that be laughter-inducing or a gentle touch to the soul.

There’s no doubt that this is Riki’s baby. And as such, Dead Inside cries honesty and sleeps in the spectator’s hearts — perhaps, forever. Far from being in its nappy state, the love and care this piece has been raised with pervades each aspect of it. And its imprint is as indelible as it’s galvanising. It’s a true bundle of joy that everyone should taste. And we can only hope Riki has a few more buns in the oven to share with us in the future.

Pictures credit to Elisabeth Caren.

Riki Lindhome: Dead Inside plays at London’s Soho Theatre until 18 April. Tickets are available on the following link.

By Guillermo Nazara