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This rather strange show doesn’t quite get its message across, but nevertheless, the beauty of it all makes it an experience still worth exploring. Summary
Rating
Good
Where is the line between a show challenging you to understand it, and just being too abstract for its own good? I’m not saying a production shouldn’t leave us asking questions, but at the most basic level it should not leave us scratching our collective heads scrambling around for any meaning.You probably won’t be surprised therefore to hear that Gone to the Dogs, from multi-disciplined and highly talented artist Tsarzi, left me for much of the time trying to pick meaning from it all! Thankfully the sheer power of the performance kept it safely on the side of entertainment rather than self-indulgence.
For the first half though, it really is a case of just holding on for dear life as you try to make head or tail. Armed with the show brief of being “a study of England as it is now: hooked on the past and wary of the future” it’s at least possible to fathom a sliver of meaning. But it is so abstract, it really is more that you know what it’s meant to mean, rather than understanding it directly. Thankfully as the show progresses, the imagery becomes stronger and the show benefits greatly for it.
The stage is bedecked with an assortment of belongings, but nothing to directly fix us at any location, although, again pre-armed with the show brief, it is apparently the character’s bedsit where she is lamenting her lost past and glory days. And then we are treated to an hour of what really can only be described as beautiful weirdness, from recorded voiceovers to looped vocal performances, singing from behind her keyboard, even violin playing. It is unquestionably stunning and beautiful, but for much of the time, utterly baffling as to what it really means.
That abstract nature is a real shame, for when the narrative becomes clearer, the performance is so much more powerful. There are clever insertions of sounds we recognise, and which are quintessentially English. The shipping forecast plays out from an old transistor radio, whilst the music slips into snippets of ‘God Save the King’, ‘Land of Hope and Glory’, Vera Lynn – all sounds that should fill us with pride. Except, well, aren’t they centrepieces for the far right and all their harking back to better days, that in reality never really existed? You know, those wonderful times they always tell us we can have back now we have got Brexit done: remember them? Food shortages, low wages, a lack of worker rights, outright racism, xenophobia. On second thoughts, maybe we have got them back.
What makes this show enjoyable and worthwhile, whether you understand it or not, is the pure aural beauty. Tsarzi does not speak a word; rather it is all told through sound and song. There is wonderful use of effect and loop pedals to build up an audio landscape, and whilst at times words become difficult to make out in this mass of sound, there is no doubting the skill behind it.
Gone to the Dogs is truly an interesting and worthy experience, as the sounds wash over you, leaving you feeling a glow inside. But it’s also just a little too avant-garde at the moment. There is a place for work that transcends the need for strong narrative but as it’s clear this show has a strong message it is a shame to not let it have a stronger voice. When the message does become obvious it has so much more power, with the dark humour and irony dripping from Tsarzi’s enchanting voice.
Written by: TSarzi
Gone To The Dogs played as part of VAULT Festival 2023 and has further performances on 4 and 5 March, full details and bookings here. You can also follow Tsarzi on Twitter here to find out about future works.
