‘Go Feral Like The Big Dogs‘ sets out to do what its name suggests with a riveting, raw, animalistic performance by Josh Gordon and Maddie Frutig, set against the backdrop of British post-punk music, corporate greed and young, unadulterated ambition.
The play revolves around two young, bright and motivated corporate employees at an insurance firm in the City of London’s financial district who become embroiled in a scandal of their own making and are forced to wrestle with the consequences of their actions.
This satirical examination of greed finds a way to humanise two employees, desperate to win the rat race and the fallout from their ill fated choice.
Alex and Rachel, played by writer and actor Josh Gordon and Maddie Frutig respectively, are young, arrogant and hungry for more, yet stuck in the daily grind of their commute and office politics.
Watching the play you are constantly reminded of the necessity to win, to achieve success at whatever costs necessary.
It may be difficult to understand their choices but I was still left feeling shaken and disturbed, and as the events unfold, I am reminded of the inspirations behind the play that Josh and Maddie spoke about before opening.
Josh said: “The great corporate core TV of the last few years, Industry, Succession, it’s all about that, the power grabs and the audacity. I think that’s been a real great inspiration, people really trying to screw each other over.
“Severance as well, just from the weirdness of it all, but also the brain. Almost all of these people don’t have their home life brain, just have the work brain, you know?”
Speaking on the moral dilemma faced by the two characters and how the audience may perceive them, Maddie said: “They’re just really deeply flawed people and although they make this horrible decision, it’s not justified in moments ever.
“You don’t feel this, ‘Oh, you’re horrendous’… You actually see them and your chest hurts in a way. It’s a physical reaction.”
The fast-paced monologues and witty dialogue capture the speed at which life can shift and how one wrong decision can spiral into despair.
Josh’s writing is nuanced and effective in creating a growing sense of fear. At times, it feels overwhelming, like watching a car crash unfold in real time.
At the same time, he reveals a self awareness in the characters that makes them likeable despite their arrogance and sense of entitlement.
Certain lines will trigger flashbacks for corporate employees in the audience: “Begin onboarding”, “the right pathway to be pursuing”, “Addison Lee”.
A sudden animal-like dance between them gives the audience enough time to breath and absorb the satire and humour filled lines which at times are delivered so rapidly they demand maximum concentration.
“If we’re successful in what we’re trying to do, the audience can bring whatever they like into the theater and we’ll slap it out of them within about 10 minutes” said Josh.
The intimacy is conveyed effectively through the choreography, shaped by Georgia Polly Taylor, the intimacy and movement coordinator.
The production is minimalist, a table and chair, a laptop allowing the focus to remain firmly on the actors whose electric dialogue and physicality capture the strange and deteriorating relationship between Alex and Rachel as it gradually unravels and they come to terms with the reality of their situation.
The play is full of symbolism. The satire is not lost, although easy to miss, as there is little room between lines, scenes and supporting characters, all played by the two actors.
The omnipresent costume of corporate performance, a suit and tie, becomes the weapon of choice in the final act culminating in a ‘feral’, unexpected and shocking twist of events that left me uneasy amid gasps and applause from the audience.
Speaking to Poppy Sutch, the director, after the show gave me an insight into the physical demands of the play. When I asked her what she wanted from the actors, she said: “Prove me wrong”.
Pushing the actors to play at their physical and emotional limits to then find truth and honesty was at the core of her approach. “I want flexibility from them.”
Go Feral Like The Big Dogs is a story that stays with you, a shocking reminder that nothing is worth losing your humanity, and definitely not your ‘job’.
Go Feral Like The Big Dogs had a limited two night run from 5 to 6 February 2026 at the Union Theatre in Southwark.
