good dog 2019spring 2019, national tour
**** ‘compellingly vital’ The Stage
**** ‘good dog is theatre at its most simple and its most striking’ the Reviews Hub
Mum’s promised him that bike so even when school or homelife bites, he knows to keep his chin up, his head down and his shirt clean. Because in the end, everyone who’s good gets what they deserve. Don’t they?
good dog – set during the early noughties – tells the story of growing up in a multi-cultural community, and the everyday injustices that drive people to take back control. Delicately observed and fearlessly told by writer Arinzé Kene (Netflix’s Crazyhead, Eastenders, Channel 4’s Youngers, West End smash Girl From the North Country, and Misty at Bush Theatre and West End), good dog embarks on its second national tour following its acclaimed world premiere in spring 2017.
**** ‘a finely observed new play’ WhatsOnStage
good dog is a treat for everyone – whether you’re looking for a night out with friends, loved ones or want to broaden your horizons alone, this is the play for you. The show opens at Watford Palace Theatre on 31 January 2019 before embarking on a national tour of 15 venues.
Cast & Creative
amelia jane-hankin trained at RADA and the RSC. Current design credits include, PowerPlay (Hampton Court Palace) and The Scar Test (Soho Theatre). Recent design credits include, Punts (Theatre 503); Natives (Southwark Playhouse); good dog (tiata fahodzi and Watford Palace Theatre, UK tour); The Same Deep Water As Me (Guildhall); Rudolf (West Yorkshire Playhouse); The Crucible (Guildhall); Torch (Edinburgh Festival); We Are You (Young Vic); bricks and pieces (tiata fahodzi, RADA), The Neighbourhood Project (Bush Theatre); This is Art (Shakespeare in Shoreditch); The Tiger’s Bones (Polka and West Yorkshire Playhouse); The Little Prince (Arcola Theatre); Pinter Triple Bill, Dealer’s Choice (Guildhall); Night Before Christmas (West Yorkshire Playhouse); She Called Me Mother (Tara Arts, UK tour); Fake It ’Til You Make It (Traverse Theatre and Soho Theatre, UK tour); and 64 Squares with Rhum and Clay (Edinburgh Festival). Amelia’s designs for The Itinerant Music Hall were exhibited at the V&A Museum as part of the MAKE/BELIEVE UK Design for Performance exhibition July – January 2016.
anastasia osei-kuffour is tiata fahodzi’s Trainee Artistic Director on the Artistic Director Leadership Programme. For the company, as assistant director mixed brain, diverse christmas. She trained as a director through the Young Vic Directors Programme. Direction includes: Footprints On The Moon (Finborough Theatre); An Adventure (Bush Theatre); Cell (The Young Vic); Here Comes The Bride (Black Lives Black Words at the Bush Theatre); All The Ways to Say Goodbye (The Young Vic); Hosea’s Girl (Talawa Studio Firsts); Dishonour; You Know That I’ll Be Back; and Universally Speaking (Theatre 503) and Pushers (Etcetera Theatre).
Assistant direction includes: Macbeth and Romeo and Juliet (National Theatre, Stratford Circus and Schools Tour); Cuttin’ It– as part of The Young Vic’s Jerwood Assistant Director Programme; supported by the Jerwood Charitable Foundation (The Young Vic, Royal Court Theatre, Birmingham REP, Sheffield Theatres and The Yard Theatre); Three Generations of Women (Greenwich Theatre and Tour); Plaques and Tangles (Royal Court Theatre),Idomeneus (Gate Theatre); Henry the Fifth (Unicorn Theatre); and – as Boris Karloff Trainee Assistant Director – A Doll’s House (The Young Vic).
arinzé kene was named Most Promising Playwright at the Off West End Theatre Awards for Estate Walls in 2011, which was also nominated for Best New Play. Arinzé was named as a Screen International UK Star of Tomorrow in 2013 and was invited to take part in the Channel 4 Screenwriting Course in 2012. Arinzé was a member of the Young Writers’ Programme and Writers’ Super Group at the Royal Court Theatre and has been artist on attachment at the Lyric Hammersmith and the National Theatre Studio. Other writing credits include Misty (Bush Theatre & West End, 2018); God’s Property (Soho Theatre, 2013); Little Baby Jesus (Oval House Theatre, 2011); Wild Child (Royal Court, 2011).
composer and sound designer
composer and sound designer
helen skiera was part of the operating sound team for The Encounter (Complicite) touring UK and Europe. Previous work for tiata fahodzi includes The Legend of Hamba and The Epic Adventure of Nhamo The Manyika Warrior and his Sexy Wife Chipo.
recent work as sound designer and composer: A Christmas Carol (Bristol Old Vic), The Lovely Bones (Royal and Derngate and Tour), This Is Not For You (Graeae GDIF and SIRF), Instructions For Correct Assembly, Bodies (Royal Court Theatre); Betrayal, Echo’s End, The Magna Carta Plays, (Salisbury Playhouse); The Encounter (Complicite); Crossings, Here I belong (Pentabus); House and Garden (Watermill); Harajuku Girls, (Finborough Theatre), The Dog, The Night, and The Knife, Pandora’s Box, Sister Of, Miss Julie, (Arcola); The Boy Who Climbed Out of His Face, (Shunt); The Last Words You’ll Hear, (Almeida at Latitude); Advice for the Young at Heart (Theatre Centre); The Centre, (Islington Community Theatre); The Three Sisters, The Laramie Project, (GSMD); Snow White, US/UK Exchange, (Old Vic New Voices); Meat (Bush Theatre), Once In A Lifetime, The Eighth Continent, An Absolute Turkey (E15), Colors, The Criminals, House of Bones, Medea, (Drama Centre). As Associate: Barbershop Chronicles (National Theatre), Cat on a Hot Tin Roof (Young Vic/West End), Adler and Gibb, (Royal Court Theatre); I’d Rather Goya Robbed Me of My Sleep Than Some Other Arsehole, (The Gate).
as operator: King Charles III, Chimerica, Jersusalem, Clybourne Park, Enron.
kwaku mills has recently graduated from the Royal Academy of the Dramatic Arts.
Theatre credits include: Eddy in End of Eddy (UK Tour).
Television credits include: Simon in Urban Myths: The Trial of Joan Collins (Sky Atlantic)
Credits whilst training include; Raleigh in Journey’s End, Ward in Women Beware Women, Benjamin in Easter and Colin Powell in Stuff Happens.
natalie ibu is the Artistic Director of tiata fahodzi. For the company, directing credits include good dog, bricks and pieces, i know all the secrets in my world, tiata delights 15, here and mango. Other directing credits include readings and productions at the Riverside Studios, Young Vic, Lyric, Southwark Playhouse, Southbank Centre, The Old Vic Tunnels, Theatre503, The Gate, Latitude, HighTide, BAC, Oran Mor, Traverse, Royal Court, ATC at the Young Vic, OVNV at The Old Vic, Waterloo East and The Vineyard Theatre in New York, Royal Lyceum Theatre, Citizens’, The Arches, Contact and Nottingham Playhouse.
tara finney productions
zoe spurr trained at the Royal Central School of Speech and Drama.
Recent theatre includes: The Maids (HOME Manchester), Cat In The Hat (Leicester Curve/UK Tour), The Unreturning (Frantic Assembly/UK Tour), Silence (Mercury Theatre/UK Tour), Toast (Traverse 1), Meek (Headlong/UK Tour), Abigail’s Party and Abi (Queens Theatre Hornchurch/UK Tour), Polstead (for Eastern Angles/UK Tour), Sticky, Infinite Joy, Confidence, Natives, Collective Rage (Southwark Playhouse), Tiny Dynamite (Old Red Lion) The Phlebotomist (Hampstead Theatre), Not Talking (Arcola Theatre), Grotty (Bunker Theatre), Phoenix Rising, Loose Lips (Big House Theatre Company, Site Specific), The Beginners (Unicorn Theatre), Elephant (Birmingham REP), Tiny Dynamite (Old Red Lion), The Magic Flute (Soho Theatre/UK tour), The Scar Test (Soho Theatre), Skate Hard Turn Left (BAC), The Drive (UK Tour), Hidden (UK Tour), Elton John’s Glasses, Good Dog (Watford Palace/UK Tour), Erwartung/Twice Through The Heart (for Shadwell Opera at Hackney Showroom), The Knife of Dawn (Camden Roundhouse) and Affection (with Outbox Theatre, site specific at ‘The Glory’
Fergus Morgan/ The Stage
'Natalie Ibu’s production is infused with an exhilarating urgency.’
James Fitgerald/ WhatsOnStage
'a finely observed new play'
‘good dog offers a compelling, menacing look at the inner-city streets’
‘Kene has a thrilling flair for language’
The Reviews Hub
'Kene balances humour and tragedy with enormous skill, but, when he unites his story with real-life events, his play bites like a Rottweiler.’
Heather Kincaid/ What's On Midlands
'Offering a genuinely fresh perspective on familiar events, Good Dog's arguments are unapologetically provocative, and feel ridiculously long overdue.'