The bathroom in a club is not just simply a toilet - this Melbourne Fringe production shows it’s therapy, a dressing room - simultaneously the place you go to engage in nefarious activities out of the eye of security, along with the escape from the chaos that ensues elsewhere.
Melbourne Fringe Festival’s Doghouse hits the nail on the head in displaying the intersection of all of these settings as the backdrop to highlight the intricacies of modern relationships.
The authenticity cannot be faulted. From the tags, stickers and Sharpie-d remarks plastered all over the walls, to the lack of toilet paper and, of course, the presence of bum bags. The most unrealistic moment was seeing one of the characters put their can of beer on the floor and even that didn’t seem outside the realm of possibility.
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It could be seen as a performance that primarily highlights the commonalities that one finds within the grimy bathroom of a club on queer night and the comical and relatable experiences that occur within it. However, the more fundamental string that ties the storyline together is the complexities of relationships. Housemates, co-workers, current partners, ex-partners and old school friends. Not unlike real life, each character had their own perspective and truth of their relationship with others, which was constantly challenged by overheard conversations or substance-induced cloudiness.
Doghouse truly hit a bullseye on the target audience, with the early-to-mid-20s bracket feeling right at home. Surrounded by the familiar passing of the vape, the constant return to the bathroom once the inevitable seal had been broken and the standard chatter of being out way too late before having to open at work the next morning.
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However, this may not have translated as clearly to an audience outside of a very specific five-ish years, thus calling into question whether a different age demographic would have seen themselves quite so clearly in the mirror, or would it have seemed a little smudged?
The production elements were minimal, but effective. The constant muffled techno, and then occasional sound of a flushing toilet gave a sense of realism and lighting changes allowed for seamless transitions between reality and different character perspectives. Unfortunately, the discontinuous set pieces, with the actors occasionally walking behind and between the gaps, slightly alienated the audience and drew focus. These were brief moments – few and far between – however they took away from the magic just a little bit.
Each actor fed the audience in a unique way. Indigo Howland and Noah Janssen’s portrayal of Kate and Denis, respectively, shone a light on romantic relationships and the Yin and Yang, push and pull within the dynamic. So much so, that during one of their scenes, my friend leaned over and whispered in my ear “That is literally me and [insert ex’s name here]”. I’ll say it again – relatable, familiar, authentic. Additionally, Daisy Calnin’s Charlie balanced the chaos with an endearing awkwardness that was running at a slightly different pace and highlighted personal growth and the growing pains that come with it. Steph McKeon’s range of emotional execution was accentuated throughout the performance, with each moment bringing a different energy, be it flirtation, annoyance, rage or slight ennui. Lastly, Gideon Cohen’s characterisation of Reuben commanded the audience’s attention and efficiently showed the character’s arc without appearing too jarring over the short hour-long performance.
Doghouse is unique in the fact that it’s so familiar. It has the intensity of the dancefloor when FISHER’s ‘Losing It’ comes on, the laughs from the late night walk home and the chemistry from the drink concoctions at pres. Why go to a nightclub, when you could go to Doghouse?
Doghouse is showing at The Motley Bauhaus as part of this year’s Fringe Festival. Limited tickets remain, grab them by heading here.
