Brian (Graham Candy) and Jesse (Jeremy Randerson) are flatmates and classmates, studying for a degree in guidance counselling, who keep each other sane by debating universal truths in the comfort of their kitchen.  They’re studying hard towards graduation and pushing each other to make sure they’re ready for the big day. 

After graduation, things take a decidedly nasty dark turn when a death mask mysteriously shows up on their doorstep and all hell breaks loose.

Randerson and Candy are both capable comedians and here seem to be enjoying the characters they’ve created; indeed, this show is at its best when it’s just the two of them firing on a theme or debating something slightly ridiculous.  They both have quite unique approaches to performing and complement each other well. 

The comedy almost derails a couple of times, when it starts touching on taboo subjects, especially the thread of Brian’s difficulties with his Middle Eastern girlfriend who he is trying to dump as gracefully as possible.  However, both stick to their comedic guns and make the material work for the most part.

There are some moments in the production that feel a bit awkward.  There is a lot of padding of the two working individually on their social work technique in preparation for their exam, for instance, with lots of humming, tutting and furrowed brows without really driving the pace forward (or particularly eliciting a laugh). 

Some of the physical work feels a tad sloppy and could use an outside eye to tighten it up to help wring all of the full comedy potential out of it.  Also, some simple dialogue issues could be resolved with clearer delivery, especially the important moments at the beginning and end of the show that are delivered facing upstage.

Both performers are very invested in character and the creation of the ideas of the play itself, but it never quite gets there, as the themes within the script itself are never quite resolved. 

The turning point of the play comes quite late, after much character set-up, and seems to just become an excuse to turn proceedings as surreal as possible, as Brian dances with his own darkness.  None of the previously strongly positioned themes seem to come to bear on this possession situation, so it all seems like a massive gear change without any real resolution to the storyline. 

All technical elements of the production are rough and quite slapped together. While appropriate to the play and the Comedy Festival environment, this rather undermines the focus of the performers.  Opening night saw a few glitches in cues and the odd mis-handled prop that I’m sure will improve over the season.

As new work, Dog Star is an excellent vehicle for two rather talented performers, but a bit disappointing that more work hasn’t been put into creating a more rounded story or higher production values. 

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