“One thing is consistent: Jennings performs the hell out of each number, bringing dynamism, infectious energy and confidence to the stage.”
Writer and performer Joey Jennings brings autobiographical country music comedy Little Pink Dress to the Edinburgh Festival Fringe at C Venues Aquila. The project is an ambitious seventy-minute one-person show that beautifully brings together country and western camp with genuinely touching humanity that captures the queer coming-of-age experience.
US-based Joey is pursuing his dreams of stardom whilst navigating life as a young gay man. Whilst facing the sterile lights of casting calls and the perils of gay dating, Joey buries his head from family troubles and emotionally fraught relationships. Soundtracked with autobiographical country anthems written and performed by Joey, and produced by David Lukens and Matty Alger, the result is an absorbing treat.
Jennings dazzles on stage, the sole performer accompanied by inventive use of audio recordings, which gives the one-man production a more expansive feel. The stage is set with a bench, wooden stool and, of course, a stetson, this is a country musical after all.
Joey has an interesting perspective on the coming-of-age tale, exploring modern gay culture, generational trauma, addiction and reconnecting with his younger self, all through the lens of a queer country angle. This is brought to life in some standout musical moments including The Zodiac, Little Pink Dress, The Twink Song and Looking For (Affection). These tracks serve to push the narrative on, as there is a true abundance of musical numbers, a testament to the musical productivity and creativity of Jennings. These tracks are slickly produced, some feeling like snapshots of classic country, whilst also having more in common with radio-friendly contemporary country. Jennings has powerhouse vocals from the school of Roy Orbison and Orville Peck, with a big, bold and showstopping range.
Little Pink Dress finds a nice balance between the hard-hitting and emotional, the introspective discussion of childhood memory, damaging break-ups, meth addiction and estrangement from family, with the lighter, more frivolous elements including country cruising bars and gay hook-up apps. This is channelled into the musical numbers, which vary in emotional weight. There’s even an obligatory Christmas number and a slightly more quirky ode to a Toyota Corolla. One thing is consistent: Jennings performs the hell out of each number, bringing dynamism, infectious energy and confidence to the stage.
Little Pink Dress would benefit from a little more time between songs. The use of audio recordings, sound and lighting gives the sense that this is more expansive than a one-man production, but slightly more time spent constructing a narrative between the musical numbers would be welcome. This would help us understand the lead character on a slightly deeper level and add more context to scenes.
Little Pink Dress is at its best when the camp spectacle and country swagger combine with the more personal. Jennings has created a show that is unapologetically queer, musically ambitious and often very funny, but there is real vulnerability beneath the stetson. Whilst the narrative could benefit from a little more breathing room, the sheer commitment of the performance ensures that Little Pink Dress makes an entertaining and affecting impression.
Little Pink Dress runs until August 30th. Tickets are available here.
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