Dead Dog in a Suitcase (and other love songs) (Oberon Modern Plays)

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Dead Dog in a Suitcase (and other love songs) (Oberon Modern Plays)

Dead Dog in a Suitcase (and other love songs) (Oberon Modern Plays)

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One summer, a young woman was house-sitting for a family who were away on vacation. They lived in a large downtown apartment and she was tasked with taking care of their dog, a golden retriever. Dr Leanne Calvert, a folklore expert and history lecturer at Hertfordshire University, agrees adding, “the ‘dead dog in a suitcase’ story thrives in urban areas arguably because it is a social comment on unreasonable bosses and the pressures of work and crime and distrust in cities. Would you ever take a stranger's offer to carry your bag off a train in London? That's a red flag for most people.”

Dave Holgate, from the RSPCA, said: "Litter is one of the biggest hazards our wildlife faces today - and it’s something that’s very easy to resolve. Strong performances abound… A genuinely powerful ensemble performance. It’s an evening that is continually fascinating.”– Oldham Evening Chronicle When it was first suggested that Kneehigh might be interested in The Beggar’s Opera I wasn’t keen. The plot seemed thin; I didn’t really know who Macheath was or what he did; the women were either wives, daughters or prostitutes, the men thieves and rogues and the ending felt lame. Dominic Marsh's Macheath has sufficient reserves of baby-faced charm to get away with murder. Carly Bawden's peerless Polly Peachum is the prim heir to a pilchard fortune, and there's a fine turn from Rina Fatania as her vulgarian mother, who turns out to be the real criminal mastermind of the operation. The macabre concluding tableau is either a thrilling alternative to Gay's slightly pat ending, or a grotesque over-compensation. But true to form, Kneehigh have come up with a piece that is not the Beggar's Opera so much as an opera which beggars belief.

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A squirrel found trapped in a toilet roll and a deer tangled up in a football net were among the calls received by the RSPCA. Credit: RSPCA An investigation has been launched after children found a dead dog stuffed in a suitcase in Airdrie. An exceptional piece of theatre not to be missed… The finale is truly explosive, whipping the audience into an immediate standing ovation.”– Canal Street

Second Floor and You the Living, Peter Greenaway’s The Cook, the Thief his Wife and her Lover, Breaking Bad, the Marx Brothers and Jan Švankmajer. I stumbled across a Punch and Judy show and thought that Mr Punch (the Lord of Misrule and anarchy personified) was like Macheath. The Scottish SPCA is now appealing for anyone with information about the incident to come forward to help We are appealing for anyone who has seen someone with this particular holdall within the area around that time.

STAGE TALK

Together we interrogated John Gay’s original and Bertolt Brecht’s revision: we looked for ways to strengthen what we perceived as weaknesses, we ranted about the world and what makes us furious, and realised we were fired up to make a new Beggar’s Opera for our times.

This brilliant musical satire delivers a forceful and hefty theatrical punch… One of the best ensembles I have seen for some time.”– North West End Mayor Goodman has been assassinated. Contract killer Macheath has just married Pretty Polly Peachum and Mr and Mrs Peachum aren’t happy. Not one bit. The RSPCA receives around 91,500 calls to its cruelty line every month and investigates 5,300 reports of deliberate cruelty. Inspector for the charity, Robyn Myszor, said: “The dog was a white and tan male entire Staffordshire bull terrier cross. Read More Related Articles Dead Dog in a Suitcase (and other love songs) director Mike Shepherd discusses his research and vision for the production.Grose tinkers with the plot to reconceive Macheath as a contemporary contract killer who blithely dispatches a politician and then shoots his dog, claiming it to be a witness. It's a typical stroke of Kneehigh's attention to detail that when the canine's puppet corpse is later discovered, there are puppet flies buzzing around it. But then – the audience is barked "Over the top!" after the men, into a field (direction by Matthew Dunster). We pass soldiers, mired in mud, tangled in structures, calling, groaning. Against the reality of the trees, such make-believe seems tawdry. Inside the wood, red lines of light suggest tracer fire; images of soldiers are suspended between trunks, lie among the leaves and twigs. Jon Bausor's design inspires heart-strong contemplation. Instead, the actors continue the too-obvious pretence. No matter how well done, it feels like a travesty of horror. Wyn Griffith, in his tweed suit, walking through the trees and remembering, as so simply and movingly performed by Michael Elwyn, would have been enough.

For instance, you certainly don’t believe that Macheath could be as bad as everyone says he is, despite watching him murder someone in the opening scenes. Dominic Marsh is sexy and alluring throughout and we are won over by his charm, just the same as poor Polly and Lucy and all the other girls he’s deceived. The Peachums follow a Macbeth style tragic trajectory as their corruption and greed gets the better of them and they sink further into depravity and anarchy, which is delicious to watch. Rina Fatania as Mrs Peachum is sinister and silly in equal measure – an incredibly disturbed and disturbing portrayal of a power-hungry manipulator. Stand out performance goes to Georgia Frost as the put-upon Filch, who acquires a series of increasingly severe injuries throughout Act One as the Peachum’s dogsbody. Frost also multi-roles a range of distinctly different characters that are integral to the plot, and provides some stunning vocals in her solo song. We are in the Age of the Profoundly Stupid and I long, with all my heart and soul, for change and a new age of enlightenment where we can all be global citizens.I also read Brechts’ version The Threepenny Opera and wrote one sentence from Brecht in my dayto-day notebook: “the world is poor and man’s a shit”. This resonated and prompted me to meet with long time Kneehigh performer, writer and marvellous man Carl Grose.



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