On the face of it, W.H. Auden and Christopher Isherwood’s eccentric fairy tale The Dog Beneath The Skin bears little resemblance to the world we live in today – but scratch beneath the surface and there’s a strong note of political satire that can be read as a cautionary tale for the 21st century.
The play’s central character, unassuming English gent Alan Norman (Pete Ashmore), is picked at random for a quest: if he can track down his village’s missing heir Francis Crewe, he gets a share in the Crewe fortune and the hand of Francis’ beautiful sister in marriage. Which is all well and good, except Francis has been gone ten years, and Alan is far from the first to undertake this perilous search.
Undeterred, our hero sets boldly off across pre-war Europe, accompanied by a dog from the village (Cressida Bonas) whose oddly human behaviour doesn’t seem to surprise or concern anyone. As they journey through fictional European nations that feel a million miles from the charm of rural England, they meet monarchs and prostitutes, lunatics and lovers, but find no trace of the missing Francis. Despondent, the pair return home to the village of Pressan Ambo – except it’s not quite how they remember it. (Side note: I was interested to discover, while researching the play, that Auden and Isherwood each wrote a different ending. This particular production uses Isherwood’s marginally more upbeat conclusion.)
To say that the play has a bit of everything feels like an understatement; I couldn’t pin it down to one particular style or genre if I tried. At times it’s laugh out loud funny, at others darkly ominous, and occasionally entirely baffling. In other hands it could have been a bit of a mess, but under Jimmy Walters’ direction, a competent and incredibly hard-working cast – some of whom play no fewer than ten characters each – ensure we remain entertained and interested throughout, even when we have little or no idea what’s actually going on.
As the only two actors to play just one role each, Pete Ashmore and Cressida Bonas give enjoyable performances as Alan and The Dog, but it’s the ensemble who really bring the play to life. I particularly enjoyed Edmund Digby Jones’ smarmy vicar turned dictator and Eva Feiler’s obsequious master of ceremonies, while Suzann McLean is compelling in brief appearances as a grieving mother, whose words of warning are dismissed by the villagers.
The production makes maximum use of the limited space available, with one end of Rebecca Brower’s set devoted to a stage area that suggests a lot of what we’re seeing is merely a performance (it’s not what you say, it’s the way that you say it, etc). Scene changes are incorporated seamlessly into the action, while a recorded voiceover provides poetic narration to keep things moving along.
The Dog Beneath The Skin was first performed in 1936, as Europe faced head on the rise of fascism and the threat of World War 2. That dark period may now be the stuff of history books, but the disquieting reminder as the play begins and ends that “this might happen any day” forces us to consider if where we’re headed right now is really that different. It is without doubt a bizarre play and consequently might not be everyone’s cup of tea, but the cast’s enthusiasm and the script’s underlying relevance make this a very worthy and welcome revival.
Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉