An open, raised set (Amy Watts) has several Metro-style seats which are moved for most scenes. The two friends, Jen (Sarah Balfour) and Dean (Dean Logan), relate various stories and experiences of their lives.
The couple go for random journeys, all local stations, Pelaw, Chichester, Airport, where they often go, sit in Greggs and fantasise about where everyone is going or has been. It is the perfect setting for their random lifestyle, not knowing where they are going or what they will do; a life of uncertainty and insecurity reflecting their immaturity.
Jen, a great dog lover, often says of one, "bet they kna where they’re gannin”, to which Dean replies, “I dinna kna where I’m ganning”—so true of their lives. Another topic is how they would choose to die, drowning or by fire. Jen chooses the first as it would allow for hope of surviving, and Dean always ops for fire. Jen often addresses the audience directly, but, as she says to Dean when he interrupts her, “this is my story, it’s not about you”. Fellow sand dancer Balfour brilliantly reveals what she is feeling by her physicality and movement as much as her dialogue. She did take a little time to slow down from the fast pace initially, especially speaking a strong dialect, which hinders comprehension.
The blackouts, when going through Metro tunnels, give great opportunity for changes of clothes and stations and seating. This is greatly helped by the lighting (Drummond Orr) and sound (Matthew Tuckey), and credit to director Maria Crocker for keeping the pace up and the staging. The couple carry this piece, creating a great relationship between them, going through an incredible range of feelings. This emotional rollercoaster is also tinged with humour, with Logan's excellent comic timing and both their comic facial expressions.
Set in 2008, when Robson was 16 years old, she wanted to write something set in her home town, reflecting that era of tabloid culture, views on sex, the whole attitude and culture of the times. Sadly, she feels times have not changed that much and teenagers continue to experience all the insecurities of growing up
Winner of the North East Playwriting Award, Emilie Robson, another sand dancer talent, is also an experienced screenwriter, which may have influenced the episodic nature of this piece. This is not your traditional play format of beginning, middle and end; it is a series of snapshots going back and forth in time, reliving and recalling personal events. It also contains many unique similes and metaphors; as she relates her shower experience, watching her blood swirl around making lovely patterns like her abstract painting, which Dean spoilt by spraying it with dirty water, just as her virginity is washed away, gone forever. It packs a huge amount in its 70 minutes. As I heard one audience member say, “it was so packed, I had a job keeping up and following it all”.
Nitty, gritty, smutty, witty, raunchy, pacy, risqué, a veritable kaleidoscope of emotions and sentiments, Dogs On The Metro is all that and more. While it ends the run on the 17th, it may reappear due to demand. I look forward to seeing what slant Robson takes on her next chosen subject, one to watch out for.