★★★

“a clever, layered piece that could be truly monstrous with a little refinemen”

After a breakout Edinburgh Festival Fringe run, ‘Bigfoot Ripped My Dog In Half I Saw It’ lands in London. This clown-led tale of runaway misinformation blends satire, drama and slick physical comedy to striking effect, though tighter structure and pacing would help it hit harder.

Two gutsy teens cry Bigfoot to spook their forgotten Appalachian town. But when a dog turns up ripped to shreds, the rumour runs wild.

Written and performed by Xhloe Rice and Natasha Roland – better known as Xhloe & Natasha – the show proves more layered than its absurd premise suggests. What begins as a prank by two teenage troublemakers gradually reveals a darker side – a runaway rumour becoming the real monster is uncomfortably apt in our disinformation age. The shifting power play is cleverly handled, with growing protests and changes in who’s controlling the narrative. The show’s blend of clowning, physical comedy and character work is consistently impressive – with little more than a gesture, stance or vocal shift, Xhloe & Natasha conjure an entire Appalachian town. While the satire lands well and the humour has a deliciously cynical streak, the narrative takes a little too long to reach its destination, leaving the final revelations feeling less impactful than the build-up. The reveal also feels a little thin, particularly with the foreboding flood subplot promising something darker. Even so, this remains a smart, politically charged piece with plenty of bite.

Co-directed by Xhloe & Natasha and Tom Costello, the staging is full of smart touches. Bigfoot becomes a potent metaphor, dramatically disintegrating at a key moment before being reconstructed by just one half of the duo. The rapid-fire physical sequences are a particular highlight, with Xhloe & Natasha utterly in sync. However, while some sections fizz with energy, momentum frequently dips during slower scenes and extended pauses. The show’s exaggerated first half leaves less room for escalation, meaning the hints of dissent and conflict could be pushed further. Even so, the sheer quality of the physical theatre makes this a company well worth keeping an eye on.

The design is sparse but smart. The sole set piece – a glaring STOP sign – bears a continuous yet unheeded warning. Angelo Sagnelli’s lighting is a standout, with razor-sharp cues and a deft balance of naturalism and heightened theatricality. Increasingly selective lighting reveals the battle for control, and full lighting exposes Bigfoot for the hoax it is. Khaki costumes, complete with patches and fingerless gloves, evoke a forgotten mountain town. The mask-like clown make up – hilariously shared with Bigfoot – signals all is not as it seems.

Xhloe & Natasha are a formidable double act. Their physical precision is mesmerising, with lightning-fast choreography and razor-sharp transitions between a dizzying array of characters. The multi-roling is so deft that, even as identities begin to blur, the storytelling remains crystal clear. Their expressive faces betray every thought, and their chemistry is flawless, moving as one until they deliberately don’t. An exciting company whose work feels worth seeking out.

Beneath its absurd title, ‘Bigfoot Ripped My Dog In Half I Saw It’ is a clever, layered piece that could be truly monstrous with a little refinement.

CSI: CRIME SCENE IMPROVISATION

Underbelly Boulevard

★★★

“its mix of humour, inventiveness and on-the-spot storytelling remains a highly entertaining watch”

What do you get when you combine a man called Peter Butter, meteorology and cotton wool? ‘CSI: Crime Scene Improvisation’ of course! Fresh from the Edinburgh Fringe and on tour after twelve years of acclaim, this entirely improvised murder mystery proves anything can become a crime scene.

Someone’s been murdered and it’s up to the audience to crack the case. After inventing a victim, occupation and murder weapon, we must help unmask the killer before they strike again, with plenty of laughs along the way.

Co-creators Sarah Kempton and Lee Apsey have built a show entirely made up on the spot – which sounds both exhilarating and a little reckless! The audience supplies the victim before the cast – Kempton, Apsey, Danielle Downey, James Cann, Nicola Lucey and Steve Bond – construct an entire whodunnit from there, aided by further audience suggestions along the way. Thankfully, chaos is kept in check by a sturdy structure. Starting at the crime scene, the cast scatter bizarre clues and red herrings before whisking us to the victim’s workplace to investigate the fallout and identify the culprit. Guiding proceedings is Apsey’s lead detective, who deftly draws out clues and keeps the narrative moving, creating the satisfying illusion of a fully plotted mystery. It’s an inventive twist on the traditional murder mystery, though with no predetermined killer we’re not scrutinising clues in the usual way. Instead, the fun comes from watching the cast weave a coherent story from an increasingly absurd set of prompts. To their credit, the final reveal – delivered by Downey at this performance – expertly folds forgotten details and throwaway quirks into a confession worthy of the most melodramatic TV villain. The result is funny, quick-witted and flies by.

The show zips along at a good pace, rarely lingering on any one scene for too long which the cast frequently punctuates with sharp closing gags. Everyone is clearly listening closely, skilfully incorporating comments from both the audience and other performers to gradually build the mystery. There are plenty of strong laughs too, from an impromptu debate about the maximum weight of cotton wool to an unexpectedly passionate correction of someone’s hairstyle. Not every section lands quite as cleanly, however. While some scenes pop with energy, others are a touch too talkative, softening the pace and diluting the comic impact. The odd bout of crosstalk obscures a few good lines. As emcee, Apsey could inject a touch more urgency into proceedings, sitting somewhere between a character and a workshop facilitator. Despite the wonderfully ridiculous ingredients supplied by the audience, the story never quite reaches the gleeful absurdity its premise promises. Even so, it’s a solid, entertaining showcase of improvisational storytelling, packed with quick thinking and genuine laughs.

The six-strong cast do well to keep momentum going, while maintaining clear distinctions between multiroling characters. Downey throws herself into every role, combining quick-fire wit with a wonderfully expressive face. Cann has razor-sharp comic timing, landing plenty of laughs and making a recurring joke funnier each time. Kempton is particularly adept at noticing every offer, creating the most fully realised character of the evening through her consistently believable reactions. Bond shows pleasing range, effortlessly shifting between hapless and crafty. Apsey brings a warm, welcoming presence that encourages audience participation, though perhaps undercuts his detective persona. Meanwhile, Lucey’s understated approach conceals a sly comic edge, even if she could afford to be a touch bolder at times.

The design suits the show’s bare-bones aesthetic, with dramatic lighting and a coordinated costume palette adding polish with personality. Despite the cast wearing microphones, the amplification feels inconsistent – though I can only imagine how hard it is to operate a show with no cues!

Twelve years on, it’s easy to see the appeal of ‘CSI: Crime Scene Improvisation’. While not every case will be a perfect fit, its mix of humour, inventiveness and on-the-spot storytelling remains a highly entertaining watch.

Tag Archives: Hannah Bothelton

BIGFOOT RIPPED MY DOG IN HALF I SAW IT

★★★

Soho Theatre

BIGFOOT RIPPED MY DOG IN HALF I SAW IT

Soho Theatre

★★★

“a clever, layered piece that could be truly monstrous with a little refinemen”

BIGFOOT RIPPED MY DOG IN HALF I SAW IT

Soho Theatre

Reviewed on 19th September 2026

by Hannah Bothelton

Photography by Jennifer Forward-Hayter

Bigfoot

Bigfoot

Bigfoot

CSI: CRIME SCENE IMPROVISATION

★★★

Underbelly Boulevard

CSI: CRIME SCENE IMPROVISATION

Underbelly Boulevard

★★★

“its mix of humour, inventiveness and on-the-spot storytelling remains a highly entertaining watch”