BIGFOOT RIPPED MY DOG IN HALF I SAW IT

Soho Theatre

★★★

“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.

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

★★½

“a tender, candid piece with an important mission”

Following a successful Edinburgh Fringe run, ‘Right Before I Go’ makes its Off-West End debut ahead of World Suicide Prevention Day. This compassionate verbatim piece uses real testimonies to reduce stigma and open up vital conversations around suicide. Though important, its execution could go further to match the strength of its message.

When writer Stan Zimmerman – of ‘The Golden Girls’ and ‘Gilmore Girls’ fame – loses his close friend Kevin to suicide, he turns to people’s final words in search of answers. But when he finally reads Kevin’s note, will he find the closure he’s seeking?

Zimmerman’s highly personal script is part show, part TED talk, part social action, aiming to shed light on the complexities of suicidal ideation through Zimmerman’s own experiences – relayed by Zimmerman himself – and real suicide notes – relayed by the ensemble. Zimmerman’s journey provides a clear throughline, while the testimonies offer powerful insights. Though at times, the sheer volume of material risks overwhelming rather than deepening the impact. The show’s strongest moments explore why suicide disproportionately affects certain groups, including men, the LGBTQIA+ community and military veterans – though further exploration of these issues could drive more lasting change. Hope comes from survivors’ accounts, offering a glimpse of life beyond a suicide attempt.

The show’s real strength is its unscripted post-show discussion, where mental health professionals answer questions and stick around afterwards for one-to-one conversations. It’s a vital extension, turning awareness into direct action. That said, the format could benefit more careful framing, including stronger signposting and more explicit encouragement for people to step out if needed. Yet the immediacy makes the experience valuable, beginning the real work the moment the performance ends.

Director Abigail Morris presents the piece as a staged reading, keeping scripts in hand and staging minimal. While this lets the words speak for themselves, the less polished delivery occasionally blunts the impact. Zimmerman’s personal journey hangs everything together, though perhaps reaches for humour in places when honesty would suffice. Projected names and photographs offer each person a moment of remembrance.

Performed by a rotating cast – around which there’s been some controversy – today features Zimmerman himself with Edward DeRuiter, Emrhys Cooper, Jessica Lia Berry and Lucy Speed. While Zimmerman is better known as a writer rather than a performer, his presence lends the piece an affecting authenticity, making emotional moments especially powerful. The ensemble is a little uneven, perhaps reflecting differing rehearsal periods, though all approach the material with sensitivity and care. Lucy Speed is particularly compelling, bringing warmth, presence and a deep connection to her characters and letters. DeRuiter, Cooper and Berry deliver thoughtful performances, if with occasional uncertainty. Any rough edges, however, are offset by the palpable passion shared by the entire company, especially in the post-show discussion.

‘Right Before I Go’ is a tender, candid piece with an important mission. Though the production could be more fully realised, its work in opening up conversations around suicide feels vital.

Tag Archives: Soho Theatre

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”