Preview: Dead Dog in a Suitcase, Bristol Old Vic

Mayor Goodman has been assassinated. And so has his dog. Contract killer Macheath has just married Pretty Polly Peachum and Mr and Mrs Peachum aren’t happy. Not one bit.

Kneehigh are back with their theatrical tour-de-force Dead Dog in a Suitcase (and other love songs). Based on John Gay’s classic musical satire The Beggar’s Opera, Kneehigh’s wild retelling is busting with wit, wonder and weirdness. This encore performance of Kneehigh’s riotous hit sees their extraordinary cast of actor musicians shoot, hoot and shimmy their way through this twisted morality tale for our times.

Kneehigh co-production with Liverpool Everyman & Playhouse. “Fiendishly clever… Extraordinary” The Stage

We grabbed a chat with writer Carl Grose.

So, Carl. How does it feel to be bringing Dead Dog… back to Bristol?
Hugely exciting! We love Bristol and the Old Vic. We’ve played here for years. It’s our home from home. The show’s been reworked, it’s wilder and more relevant than it’s ever been, and we can’t wait to play here again.

Kneehigh bring their brilliant, darkly satirical ‘Dead Dog in Suitcase’ back to Bristol from July 2-13. Pics: Steve Tanner

Kneehigh go down well here in Bristol. Is it the same everywhere you take this show, or does Bristol have a particular affinity for?
As entertaining as it is, Dead Dog… is certainly one of Kneehigh’s edgier, more political shows. And I always feel that Bristol, like Liverpool (where we made the show, in 2014), is a political city. There’s a great energy in Bristol to make exciting art. The music scene is buzzing. It’s the home of Banksy. There’s a culture of resistance. Dead Dog… and Bristol are a fine fit.

‘Dead Dog’ writer Carl Grose

Has the show changed at all since 2014, to reflect our turbulent politics? Do you detect any echoes between the events of Dead Dog… and the wider farce of British politics?
When we made it in 2014, the banks were imploding and the immigration crisis was revealing itself to be this century’s great global tragedy. In the five years between then and now, a terrific amount of awful shit has happened. Brexit. Trump. The rise of the right. Now Boris. It’s totally absurd and terrifying.
I thought I’d have to make some amendments but actually what’s talked about in the show feels all the more resonant today. When our anti-hero Macheath rages into the void at the end of the show “Bring it down! Bring it down! Bring it all down! And start again!” it sounds like the only possible way forward.

How recognisably a Kneehigh show is it? Are there certain ‘key’ Kneehigh elements on the show?
It’s directed by Kneehigh founder Mike Shepherd so it couldn’t get more Kneehigh if we tried! But it feels very different to previous shows, too. We have our way of doing things, certain things that we love to use to tell a story, and we like to work with people who have a true understanding of the company. But we never have a checklist of “Kneehigh elements” to stick in the show – in fact, quite the reverse. I think we’re always trying to reinvent ourselves.

Does the show aim to send audiences away thinking about power, corruption, dysfunctional communities, anything like that… or simply to give them a good laugh?
Ultimately, we wanted to tell a really good story. That’s all I’m interested in. What I loved about taking John Gay’s Beggar’s Opera and reconceiving it for today’s audiences was that it inspired us to address certain themes – but they’re ancient, enduring themes. Social injustice. Corruption. Morality.
So if the story makes you think and feel those things, great! I’d be surprised if it didn’t.

Would you describe the humour of the show as overall pretty dark, or are there lighter moments?
Humour is massively important in this show. It does go pretty dark. The drama requires it. However, I can’t help but use comedy as a means to delve into the darkness. Humour weaponizes the politics, I think. So there’s satire.
But the show’s also playfully daft at times, too. It helps that the company we have are made up of some of the most brilliantly comic actors I’ve ever seen. And they can sing beautifully too. Bastards.

What roles do music and puppetry play in the show?
Music is everything in Dead Dog…. Charles Hazlewood, who brought the idea of The Beggar’s Opera to us, has written an audacious score – it’s epic, witty, romantic, raging. A thrilling collision of styles (ska, punk, country and western to name but a few), in a nod to Gay’s own proto-jukebox musical experiment!
The puppetry, too, plays a massive part. We have Mr Punch commenting throughout – which is another nod to old-school English satire. And, of course, there’s Toby the dog, also a puppet. He plays a hugely pivotal role despite (spoiler alert!) getting assassinated in the first scene – although, I guess we do give that away in the title!

Dead Dog in a Suitcase returns to Bristol Old Vic from July 2-13. For more info and to book tickets, see bristololdvic.org.uk/whats-on/dead-dog-in-a-suitcase

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