It's a (critical) Dogfight

So I've been thinking.  Thinking a great deal about the critical response to Dogfight, which has polarised newspaper columnists and bloggers alike in a way that no other production I've been involved in has done.  Yet, this is the first time I've felt able to read reviews with genuine detachment; for I have never in my career felt so certain I was a part of something really special.  A sentiment I can quite confidently state was felt across the board, by all involved in the production.  It may sound arrogant to say so... But sometimes, you just know.  It's in your heart, your gut and in the atmosphere of sheer joy that pervaded our rehearsal room from day one.

And so, to the critical response (spoilers ahead, for those yet to visit; fair warning!) I'm also assuming those reading hold a degree of familiarity with plot and characters.

For every five star review, every man and woman out there who adored the show, praised it to the heavens as the charming, funny, powerful, heartbreaking piece of theatre we all felt it to be; there was another who would damn the production with faint praise, for reasons frequently related to an inability to get past the misogyny they perceived the piece to be condoning.

I am a woman who proudly identifies herself as a feminist.  The Everyday Sexism project, the many, many high profile women (and men) who publicly support feminism; even Beyonce's swiftly iconic turn at the VMA's recently, are all a cause for celebration.  There is a very real turning of the tide happening, to my mind, as both sexes reclaim a word long stigmatised and begin to call bullshit when they smell it. 

However, to those who have instantly cried misogyny at the premise of the show, who have bemoaned the marines' treatment of the women and claimed their behaviour is swept under the carpet with uncomfortable ease; I can't help but wonder if this is in some part a kneejerk reaction, maybe stemming from a sense of obligation to unequivocally condemn any and all bad male behaviour, without necessarily taking the time to try to contextualise and understand it? 

Well, before you cry off with her head, let me attempt to do just that...

We are talking about a group of marines, a mere thirteen weeks into their training, about to be packed off to a country they know next to nothing of, many, many miles from home.  A group of boys, some not even out of their teens.  A group of scared children, the majority likely fairly uneducated, who have been drilled into turning a blind eye to the humanity of anyone but their military comrades.  For how else can you demand of a group of teenage boys that they travel halfway around the world and kill with zero compunction? 

They are males of the early sixties.  Of Kennedy's era (the majority of the action of Dogfight occurs the day before Kennedy's assassination) the foreshadowing of which casts a desperately sad pall over their belief in their own invincibility.  This was a time when equality between the sexes was not even close to being a reality.  A time when Americans truly believed they were untouchable.  A day later, that belief would implode and the slow erosion of the USA's unshakeable idealism would begin.

I am not condoning the men's treatment of the women of the piece, nor the revoltingly cruel nature of the dogfight itself, but neither am I able to entirely condemn them for it.  It can arguably be viewed as one more step on their road to dehumanisation, of themselves and of others.  I mean, this stuff actually happened, people.  The dogfight was a very real marine tradition.  It ain't pretty, but it's true.  Shouldn't theatre, any art in fact, shine a light on the bad as well as the good?

To those concerned for the (assumed) terribly fragile feelings of those of us cast as 'ugly', I do think it worth quoting the authors' note in the script - 'the only requirement is that the audience not identify the women chosen as conventionally attractive within the context of 1963 America' (there's that magic word again, context...)  Plus; jeez, we're actors.  I could write all day about the sheer fun involved in playing someone who is not exactly the girl next door!

What troubles me about the hand wringing response from some quarters to the female characters is that it feels, quite frankly, almost patronising.  There seems to be a willful blindness to the fact that for my money, almost all of the female characters are stronger, brighter and often more in control than their male counterparts.  A fact that perhaps, just doesn't fit the narrative some seem determined to take from the show.

Rose is, by far, the most intelligent character onstage.  When alerted to the true nature of the dogfight, she doesn't opt for a quiet exit, tail between her legs; instead, this shy, bright girl barely out of her teens takes a swing at her date and publicly, furiously and articulately, calls him out for his asshole behaviour.  Even the song 'Pretty Funny', perhaps her lowest personal point in the show, steers clear of being entirely self pitying.  She grits her teeth, refuses to shed another tear, reminds herself that tomorrow she'll 'forget to even care'.  When Eddie returns to make inarticulate amends, she again calls him out on every ignorant statement he utters, every second of bad behaviour, never once letting him off the hook over the course of their evening together, opening his eyes to his own essential decency in the process. Rose is no feeble victim.

To Marcy; a woman of little education but ferocious street smarts.  She is in control of her role in the dogfight and of the financial transaction involved every step of the way.  Boland can insult her all he wants; she still walks away with a stomach full of free food, booze and a wad of cash.  She tears into Rose's naivete in the process, expressing feminist opinions before such opinions were printed on banners and waved on marches up and down the country (albeit in slightly less fruity language, ahem).  For my money, future Marcy goes back to school, gets stuck into women's lib, becomes a beloved of the oppressed, Mrs Madrigal type, taking in future Roses, growing pot on the roof.  Marcy is a survivor, through and through.

Ruth Two Bears, a woman of few words (but Christ, can she pick them).  Does she slink out in embarrassment on learning of the true nature of the evening?  No.  She calmly pours her drink over her date's head, makes her feelings crystal clear with one choice insult and (God, I hope) heads off with Marcy to continue drinking and shooting the stoical shit way into the night.  More the behaviour of one utterly self possessed than one victimised.

Mama; a single mother, taking no nonsense from anyone, kind, caring, having single handedly raised Rose whilst running a business.  Helpless female?  What do you think?

Suzette, who seems to be having a rather glorious night with the drunken Fector.  Even Chippy, who senses which way the wind is blowing and wrests back control of the situation in the whorehouse, realising it's safer and wiser to consent to one more john and be paid for it than risk the choice being taken from her.  It's a terrible corner to be backed into, but she has the smarts to find her way out of it as best she can.

These women are victims of their circumstances, absolutely.  However, to label them all simply as 'victim', to feel nothing but pity for them, is to deny them their strength.  It's demeaning.  It's reductive.  I think it's inaccurate.  In an outraged attempt to defend these 'pitiful' women, you do them the grave disservice of implying they are incapable of defending themselves.

The characters I truly pity in this show are the men.  The BOYS.  The boys who will never come back from a war they don't understand.  The boys who don't know any better.  The boys who cling to the mob mentality and to each other because it's the only thing that makes them feel safe, validated, powerful.  The only thing that makes them feel like 'men'. 

Now, let me make it very clear that I am not calling into question anyone's right to respond to a production however they see fit.  It is purely the nature of the negative responses that has interested me and prompted me to scribble down my thoughts on it all, as it has so often come down to 'I dislike the men's behaviour, therefore I dislike the show.'  Do you have to like the characters in a work of fiction in order to be able to see any artistic merit in it?  Do you like how Richard III behaves?  Medea?  Do you see my point?

I'm genuinely asking.  This blog is not the railing of an actor concerned their work has gone unappreciated and I sincerely hope it doesn't read that way.  I am genuinely, deeply fascinated by the passionate responses, both for and against, that Dogfight has elicited.  I guess I just wanted to throw my hat in the ring and become a part of the conversation.  She loves a good debate...!

I'll finish by saying that for me (and I think I can safely say, for the entire company), working on this show has been one of the greatest joys of my life.  I've never worked with a happier, more supportive group of people, or felt more creatively satisfied. I'm amazed and delighted that a production that has brought such happiness to the lives of all involved has hit such a nerve with audiences, for better or worse.

Below is a selection of quotes from reviews; both positive and negative, in the interests of fairness!

Curious as to what all the fuss is about? You have two weeks to find out.


15/9/14 UPDATE - Since writing this blog, a number of further articles have been written in regard to our production; links to which are included below, for those interested!

Dogfight; offensive or outspoken? - Paul Taylor, The Independent
Man bites dog as Dogfight actor hits back at critics - Mark Shenton, The Stage
Theatre Thought: Dogfight at Southwark Playhouse - Katie Brennan, Bloody Hell Brennan
Dogfight – Misogynistic, Or Just A Show About Misogynists? - James Waygood, Grumpy Gay Critic

***** 'This controversial musical about US marines on the eve of war is a critique not a celebration of macho posturing... By the end, as so often, it is the women's strength that prevails when all that macho posturing has burned away to nothing.' - Guardian
***** 'They forward our insights into the broad political context (naively patriotic soldiers poised to topple into hell)... A wonderful evening that, in any truly discriminating theatrical culture, would win awards.' - Independent
***** ' A romantic, hard-edged and humane love story with universal feeling at its heart... It's almost perfect' - Libby Purves
***** 'Matt Ryan’s powerfully realised production demonstrating that crass attitudes and behaviour all hide a desperate need for purpose and a sense of belonging. In an increasingly fractured world, Dogfight speaks to us on many many levels. Unquestionably a must-see show' - Jonathan Baz
***** 'It is a touching tale of non-judgement. What sets Dogfight apart... is its beautiful simplicity and heartfelt humanity... The decision to explore the slightly darker sides of this story, gives the rendition a much edgier and welcomed feel.  Dogfight is an extraordinary production and delivers everything you would expect and more.' Broadway Baby
***** ' A tremendous, timely war-time musical in what is an extremely well-executed, highly polished production that spills over with themes of humour, drama, love and loss' - Mellow Day London
***** 'This is a bold musical but it's exactly what we need. THIS is the type of production we should be seeing in the West End.  This show is truly something special, if you don't catch this you'll be missing out on one of the best shows of 2014.' - Pocket Size Theatre
**** 'Dogfight is not misogynistic... To read it as such is to ignore the story at its heart, in which a fragile conception of masculinity in America's Vietnam era is dashed to pieces, and the emotional intelligence, sexual power and ability to guide others are given to a complex and interesting female character.' - Financial Times
**** 'So believable is [Laura Jane Matthewson's] transformation from wallflower to a woman with her own strengths and ideals... Jamie Muscato is particularly moving as he tries to make sense of having survived the Vietnam conflict four years on.' - The Stage
**** 'It’s an unusual premise, but somehow Dogfight suddenly finds its way into your heart, and before too long the goosebumps are rising.' - So So Gay
**** 'This is high class musical theatre that deserves a longer run in front of a bigger audience.' - Everything Theatre
**** 'A storming, relevant, fresh piece of theatre... Peter Duchan’s script is littered with charm, hope, bite, humour and heartbreak... A true triumph.' - The Upcoming
**** 'What starts as a slightly brash testosterone fuelled piece evolves into something much more tender and touching' - The Gay UK
**** 'This perception changing musical is a must see, as soon as humanly possible' - Theatre Full Stop
**** 'A heartfelt musical stuffed full of next generation talent & gorgeous songs.' - To Do List
**** ' This production absolutely blows the mundane fare of Theatreland clear out of the water, and should have the West End shaking in its boots. A barnstorming and phenomenal show.' - Grumpy Gay Critic
'Cruel in the extreme, Dogfight nonetheless refreshingly can boast a female cast who look like normal, everyday people which gives a fantastic sense of realism and poignancy to a show that starts by apparently indulging military machismo but then proceeds to subtly subvert it' - Reviews Gate
'This new American import still feels relevant thanks to its sure-footed stance against the misguided machismo and American imperialism that flowers in times of war' - Londonist
'A cruel trick forms the basis of the plot but despite its inauspicious beginnings, there is nothing mean-hearted about the touching love story at the heart of Dogfight the musical.' - The Metropolist
'The general synopsis of it alone might be enough to put you off, but try not to be deterred – Dogfight has the magical aura of an old Broadway classic.' - A Younger Theatre
'The premise of Dogfight... is an instantly intriguing one and a highly effective set up for the pathos that's to come.' Broadway World
'So loaded with symbolism, with the portent of man’s inhumanity to man and all its inevitable damage... In amongst all the testosterone and bravado – and the idea that 30 days basic training can prepare young men for hell – there is the denial of innocence and just a trickle of hope.' - Edward Seckerson
'There is no dictum which states that a musical must be one thing or another - so why do we insist on treating musicals as somehow distinct from plays? We will accept, encourage even, experimentation with form and content in a play, so why can we not accept it in a musical?' - PostScript
'This is a show with a few things to say about misogyny and war. Misogyny, of course, finds its expression in the ‘dogfight’ itself... Not that women are portrayed merely as saints or victims... This is musical theatre, not antiwar agitprop, and it works well as an entertaining spectacle with an interesting story to tell' - Exeunt
'A show about guys being guys will here be remembered for the girl.' New York Times
'What becomes fascinating about the piece [is] the juxtaposition of the crude and harsh world of being a marine, the backdrop of the Vietnam war and the tenderness and emotional connection between Eddie and Rose.' - Paul In London

*** 'Cheerily uncritical depiction of hateful misogyny' - Telegraph
*** 'The girl the jarhead falls for is not a waif - although she's not Tracy Turnblad either so what's the big deal?' - What's On Stage
*** 'Laura Jane Matthewson seems far too pretty to be Rose' - London Theatre
*** 'The Marines' vulgar treatment of these poor girls is horrific. The majority of the audience found humour from within the situation, whereas I failed to find anything about it funny.' - West End Frame
*** 'If boys will be boys, does it follow that boors will be boors?... A gang of shorn-headed US Marines, on leave in San Francisco after boot camp, they behave like intolerable jerks' - The Times
*** ' The Vietnam war is in its early stages and the marines have little idea of what to expect as they play their traditional game of “dogfight”, the offensive misogyny of which casts an ugly shadow over the first half of the show.' The Beast's Pen
** 'Rose’s relentless niceness is as feeble as a flower in a gun barrel when faced with the marine’s constant barrage of misogynist slurs' - Auditorium
** 'A great bleeding chunk of Vietnam-era misogyny' - Evening Standard
** 'The unpleasant scenario is presented as a sort of light schoolboy jape' - Time Out
'The thought of a contest to see who could bring the ugliest girl to a party is deeply offensive to me... I’ve avoided seeing Taming of the Shrew for ages because I can’t find comedy in misogyny... Watching the show, I felt a sense of creeping horror at what it took to create it. What does it mean to hire an actress to be “the ugly one” or “the fat one?”' - Life In The Cheap Seats
'Whilst stunningly executed, Dogfight is an uncomfortable watch... Arguably, holding a mirror up to this kind of behaviour... might be a small shuffle towards tackling it; but as an audience we are gleefully invited to objectify, mock, and dismiss the women in the show' - Ginger Hibiscus
'Matthewson is too pretty' - Mature Times
'Rose and Eddie never looked right as a couple to me but that may be part of the point.' - Curtain Up
'It presents collective cruelty as spirited frat-boy hijinks, refusing to address the underlying darkness' - Arts Desk
'Does their sacrifice excuse their misogynistic behaviour?  Not in my book.' - The Gizzle Review
'As set-ups for a boy-meets-girl musical go, it’s hard to imagine one which could be more sexist or misogynistic.' - Musical Theatre Review
'The story seems to be making a point about the way that the military takes young men and desensitises them in order to make them into efficient fighting machines, and their resulting inability to function in ‘civilised’ society.  The only way they seem to be able to enjoy themselves is by humiliating women' - Rage Off Stage
'My shock turned to bemusement, then to disbelief, then to anger, then to physical nausea, then to spiritual despair, and finally to indifference. In the closing moments I even experienced a golden beam of hope that this horror show, steeped in the sexual politics of the Stone Age, was a misbegotten satire. But no, it was in earnest.' - Spectator