Philippine Fauchier-Magnan’s Woof has thematic potential, but it's currently barking up the wrong tree.Summary
Rating
OK
A dog may be a man’s best friend – but when was the last time you heard things from your pooch’s POV?
In Philippine Fauchier-Magnan’s Woof, playing at this year’s Camden Fringe, two dogs vie for the affection of their human. Ella-Rae Rimanda’s Old is more experienced in this department, while newcomer Pup (Fauchier-Magnan) still has a lot to learn about the art of coaxing a belly rub, ear scratch, etc.
The show gets off to a strong start, with some amusing rapport between Pup’s golden-retriever energy (“Can we go in the garden? What’s that? Let’s DO something”, et al) and that of the cynical, but kindly, Old. Old is attempting to impart wisdom re all-things-human, telling her younger companion – who has only recently been separated from her littermates – that if she makes good use of those infamous puppy eyes, plenty of “good dog” accolades are sure to follow.
Pup, however, is not a straight-A student. Bounding across the stage, she challenges her mentor’s teachings on the accepted human-dog hierarchy (humans top, dogs second), suggesting instead that dogs are the “kings” and humans merely their subjects. Why else would Pup and Old have been given their very own garden to run in and two tasty kibble servings per day? But when Pup notices Old starting to display signs of age-induced confusion, the young scrapper realises she might be fending for herself sooner than anticipated.
Despite a fun opening gambit, Woof goes on to bark up the wrong tree. As we tick past the halfway mark (Fauchier-Magnan’s script boasts a one-hour run-time), Old and Pup begin to re-tread familiar ground, with the latter half of the show struggling to offer up anything new. Pup’s riotous energy begins to prove wearing and I found myself craving something emotionally meatier to make up for it. Most frustrating still is that several opportunities for some all-important pathos are skated past too quickly. When our littler canine ponders aloud where her mother and siblings might be, Old must quietly explain that Pup alone has been “chosen”. Mother will not be joining her. Touching on themes of uprootedness and abandonment, this is a moment that should serve as a strong emotional stop-gap – a minute for the audience to dwell and take stock. But blink and it’s over, with Pup back to her energetic shenanigans and Old trying, in vain, to sedate her. By the time Woof delivers its final sucker punch, I found myself too distant emotionally to feel its weight.
Woof certainly has thematic potential: loyalty, ageing and social hierarchy are all present. Rimanda and Fauchier-Magnan’s performances are also fairly engaging – although both could have had a firmer hold on their script, with several lines stumbled over.
Fauchier-Magnan is playing with a solid idea that warrants further development. After a (heavy-handed) edit, I’d happily give it another crack. But for now, it’s all bark and no bite.
Writer: Philippine Fauchier-Magnan
Director: Austin Evans
Woof has completed its run at The Hen & Chickens Theatre.
