A mainstay in Nashville, Tenn., The Doyle and Debbie Show is now entertaining Milwaukee audiences with its honky-tonk hijinks. Billed in its promotional materials as “a perfect blend of comedy and country music,” the show lives up to its hype with side-splitting lyrics to the songs sung by country-western duo Doyle and Debbie.
Doyle, an aging has-been who never was, is launching a comeback to his mediocre career. To complete his act, he has found his “third Debbie” (he married and divorced the first two). This Debbie (in a spot-on performance by Erin Parker) tells the audience she grew up listening to the original Doyle and Debbie on the radio. She is now so enamored of appearing with her “famous” country co-star that, in her early scenes, she exudes a pinch-me-I’m-dreaming exuberance. Still, as a single mother with three children, she isn’t completely naïve. One of the show’s conceits is that her voice and onstage charisma leave Doyle in the dust, without either of them knowing it.
Milwaukee isn’t the first Midwest stop for this impressive musical. In 2011, it had a successful run at Chicago’s Royal George Theater. Extended three times, Doyle and Debbie played in Chicago for more than seven months. That’s impressive for a city with its own deep, theatrical roots.
Meant to be a parody of country music, director JC Clementz makes this production more of a tribute to great country artists such as Dolly Parton and Porter Wagner, Tammy Wynette and George Jones, and Conway Twitty and Loretta Lynn. Even if these names are totally unfamiliar to those watching Doyle and Debbie, the show has much to offer. It’s easy to identify with their struggles, failures, temptations and their attempts to reach success.
But don’t tell that to Doyle (Michael Accardo). His character is convinced he could sing alongside these “big dawgs” of country music. But it’s clear to see that, for many reasons, he couldn’t even share the same spittoon with them.
A third performer, a long-suffering music director called Buddy, is played by local actor/musician Bo Johnson. His deadpan delivery and frequent eye-rolling earn laughs as well. The other two cast members are making their Milwaukee debuts in this show.
Although they may not thrill to the same degree as true country-western stars, Doyle and Debbie are dressed for the part. They wear spangled, fringe-covered outfits, and Debbie completes her look with some red Western boots. Debbie’s dress shows off her considerable cleavage, too. Doyle’s suit displays a warped sense of patriotism (it displays silhouettes of naked girls as well as the American flag). Not only is Doyle clueless about the limits of his own talent, he frequently veers into non-politically correct territory. He proudly admits to writing a song that showcases female country singers. However, the song’s title, “Barefoot and Pregnant,” says it all. “Who cares if my husband comes home drunk?” warbles Debbie, cheerfully. “At least he’s coming home.”
More favorite tunes include “Blue Stretch Pants” (a turn-on for Doyle when he first sees a woman wearing them. He ends up marrying her. However, he notes that age and children have caused considerable changes to the pants’ dimensions). “Stock Car Love” is a beautifully delivered, double-entendre delight. Finally, in “Snowbanks of Life,” Doyle uses his pee to “write” the name of his love in the snow. (As the years go by, and prostate problems crop up, Doyle says he adjusts by dating women with shorter names.)
A personal favorite is the show’s encore tune, “Fat Women in Trailers.” It’s a rousing number in which Doyle sings about the reasons he spurns model-thin women for “fat women in trailers (whose husbands are in jail).” Needless to say, the show’s songs are not meant for kiddies. This is definitely adults-only entertainment.
For all the show’s hilarity, one can’t help but show some sympathy for these two characters. One can only guess what Debbie’s life was like when she was singing in a VFW hall (where Doyle spotted her). As for Doyle, Debbie proudly points out that his abrupt absence from the stage was due to a series of unfortunate events, such as divorces, bankruptcy, fraud, embezzlement, and so forth. That both actors play their parts with complete sincerity (no winks to the audience here) keeps the audience rooting for these two (when theatergoers aren’t doubled-over in laughter at their songs).
The Milwaukee Repertory Theater’s intimate cabaret theater is ideal for the close-up confessions made by the performers (and it helps tremendously in understanding the song lyrics). The set designer has done his homework, too. The stage is plastered with past show posters, beer signs (including some in neon lights), deer antlers and other country memorabilia. Although Milwaukee’s favorite brew is highlighted here (Miller signs predominate) they aren’t the only featured fermented beverages.
