Written by Annie Lux

Directed by Lee Costello

There is hardly a name in the literary and performing world from the 20th century that hasn’t benefitted or been influenced by Dorothy Parker, who wielded creative disciplines, opinions and criticisms with as deft a hand as ever possible. To sum her entire life into a one-woman show is a colossal task, and rather than attempt to give a whistlestop of the remarkable woman’s life, instead, writer Annie Lux threads a one-hour solo show with memory, nostalgia, and plenty of smiles.

This is a one-woman show in every sense. No hiding or gimmicks, no transitions, or scene changes: just an exceptionally talented performer, with a solid script. Directed with deft and care by Lee Costello, The Portable Dorothy Parker stars Margot Avery in a commanding, though still inviting solo performance as we join Parker in her Hotel home as she finalises the drafts for the titular book, a collection of Parker’s quotes, works and essays. 

Sitting before us is a Dorothy Parker reflecting on their legacy and interaction, and how much of their ‘wild days’ were wasted away on drink and endless parties – but there is no regret in Lux’s script. Elements of Parker’s hand in the Screen Writers Guild in Hollywood in 1933 thread the script and could not be more relevant with current strikes from writers, performers, directors and animators. It’s a deeply rich and glossy script, with enough offshoots of remarks and jabs at famous names of the industry.

True to Parker’s outlook on her remembrance, Avery’s performance goes well beyond the expectant levels many performers would find satisfactory. Despite the razor wit, or the sharp tongue with which Parker was capable, Avery brings such mortality and authenticity to the performance that it’s difficult not to become enraptured by the transition from a person into Parker happening in front of us: it’s truly awe-inspiring.

The Portable Dorothy Parker is solid theatre which channels performance and scripting to the front, without pushing airs and graces to be something it isn’t. For those familiar with Parker, the historical aspects are engaging and present, for general audiences this is still a mighty fine experience; honest and clean and talented.