Dead Dog in a Suitcase
The latest show to hit the Royal and Derngate is, for lack of a better word, ambitious. A collaboration between community groups, The Actors Company and RDCC, the musical is packed with energy, strong visuals and committed performances, even if it does struggle to find its rhythm.
The production’s greatest strength is undoubtedly its set design. From the initial curtain rise, the stage is illuminated, lively, and features an imaginative, versatile backdrop that transforms seamlessly throughout the performance. Designer Abby Clarke has been nominated for several awards for her set design, and it’s clear why. I love the lighting, directed by Dan Tilley; it really gives every scene its own unique atmosphere, taking me to a world wherein finding a dead dog stuffed in a suitcase was nearly as strange as finding a suitcase full of clothes. The darker scenes are made easier to process through light-hearted jokes and a running commentary by Punch and Judy.
Marketed as ‘a blistering collision of theatre and live choral power’, the cast shows some impressive vocals. There are standout voices that effortlessly capture the emotion of the moment, particularly Holly Hughes-Rowlands (Polly), the naïve heiress to a corrupt company, who finally realises the implications of her inheritance. Sarah Glynn (Mrs Peacham) also puts on an impressive performance as the gaudy, overzealous wife, a puppeteer to her simple husband. However, at times, the orchestration and staging overshadow the dedicated performances, and at times, make it difficult to navigate how the story is developing.
Unfortunately, the choreography lacks the same confidence. Several dance sequences throughout the show are out of sync, making what would have been a very energetic show appear clumsy and hesitant. Likewise, the acting often appears awkward, particularly in dialogue-heavy scenes. This is a shame as I feel it takes away from the true meaning of the show; a fight against corruption. However, considering this is the show’s first night running in Northampton, these issues are understandable and could improve with more performances as the cast settles.
The production also contains several explicit scenes and mature themes, which the various bachelorette parties around me thoroughly enjoy. They seem out of place in the show and make me feel as though the production has suddenly switched at various points in the play. These scenes do complement the gritty nature of the show; however, and they are handled to varying degrees of success, but so may not appeal to everyone.
The production’s greatest achievement is its sense of community. Created “to represent the best of collective creativity”, the two community groups show a clear passion for performing. Bringing together The Actors Company with Royal & Derngate’s Community Choir creates a powerful ensemble that reflects the show’s central message. Members of the groups describe the groups as “a family, where no one feels left out.”
Dead Dog in a Suitcase is an intentionally loud, fast-paced and often absurd musical, demanding strong comic timing and confident performances. The cast embraces these challenges with clear commitment, even if some performances are still finding their footing. Beneath the eccentric humour and exaggerated storytelling lies a serious exploration of capitalism, corruption and the voices that are often ignored. The Community Choir emphasises these themes, representing ordinary people joining together to challenge those in power and giving the production an authentic sense of purpose.
Despite a few hiccups, A Dead Dog in a Suitcase remains an engaging and visually intuitive production. Its impressive technical design, strong vocal showcases and commitment to community casting far outweigh the negatives. It’s certainly a unique experience, and the dedication in the faces of the actors make for a touching performance.
Photos credit: Graeme Braidwood
