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The Sky is Falling.
1916. The Somme. Alone in their bunker Will and Jack fight to survive the war whole. But the battle keeps shifting and the enemy changes. And then the dogs begin to fall...
Drawing on the traditions of absurdist writers Albert Camus, Samuel Beckett, and Eugène Ionesco, and on the philosophies of David Hume and Arthur Schopenhauer, Dogfall is a dark existential paean to the madness of war and the animal yearning for annihilation that lies deep in the shadow of every man’s heart.
From the Somme to Stalingrad, Vietnam to Kuwait, Dogfall unflinchingly depicts the absurdity of war; a world turned upside down, where outside it is literally raining cats and dogs, men behave like beasts, and death is all around.
Stylistically, the play makes a gradual transference from naturalistic convention into absurdism. There is a unity of character and psychology throughout, but there is no unity of time and location to the outside world. Instead, with each scene the play jumps forward to a new war, a fresh conflict and different enemies. The characters transform into different races and configurations of opposing threat to one another. As the scenes change, the power struggles reverse, and the contradictory alliances begin to erode their intellectual capacity for reason. This ends in a complete breakdown in communication, character, personality and understanding of why they are stuck in this perpetual flux.
As the dog fall grows heavier and heavier, Will and Jack must decide what they are fighting for and what they will lose in final victory.
Dogfall is a groundbreaking new script, sweeping in scope. Though classical in tone, it is essentially a modernist deconstruction of our history compressed and distilled into a theatrical landscape that echoes the great plays of the 20th century.
- Brendan Rock
- Martin Hissey
- Joseph Del Re
- Director: Justin McGuinness
- Composer: Peter Nielsen
- Lighting: Nic Mollison
- Costume & Props: Tsubi Du
- Publicity: Antje Guenther
- Produced by: TheimaGen