Reviews

This first of three instalments of The Grief Trilogy sets a sombre and intense tone for these plays. These are dark themes which are treated with unapologetic directness and honesty. The expectation is, therefore, that the experience will not be easy. The production, in fact, depicts some very difficult and raw emotions. Some moments in the play will test the audience and their willingness, or even their ability, to ponder the recesses of the mind.

Performed in Belarusian with English surtitles and based on the novel by Alhierd Bacharevič, banned in Belarus, Dogs of Europe is particularly befitting on more than one level. Whilst dystopian works are very much the ‘flavour’ of the moment, the chilling realisation that Dogs of Europe underlines is that much of what is portrayed is not of the future, but is already here.

This is a deeply personal and touching performance even though it is structured like a lecture and employs some basic digital technology. Nonetheless, the show is fully and profoundly immersed in theatrical traditions, and Wang Chong’s performance is as brave as it is daring in its play with form. The content is an extremely poignant expression of an implacable desire to speak freely. This gives the show quite an edge and makes it all the more remarkable. 

In case you don’t already know them, it’s not difficult to find beautifully shot footage of The Piano Guys, pianist Jon Schmidt and cellist Steven Sharp Nelson, playing a good variety of stirring music.  If you do know them, you might wonder how their creative video approach to music would translate to the stage.  The experience was, in a word, amazing.