The play I was watching was just 10 minutes in when a black Labrador jumped up next to me and settled in for a nap. This was going to be no ordinary theater experience.
I was at JACK, a performing-arts space in Brooklyn, N.Y., to see Comfort Dogs: Live from the Pink House, the latest experimental play written and directed by William Burke. The Labrador, Gypsy, along with mixed-breed pups Bronco and Bluet, was part of the play’s canine cast.
Comfort Dogs explores the relationship between humans and canines, and our dependence on them, through music and spoken word. Burke was inspired to create the play after reading about therapy dogs visiting a local nursing home in the aftermath of Hurricane Sandy. It sparked his curiosity about the emotional responsibility we assign to dogs, and their willingness to stay by our side despite not understanding most of what we say or do.
Normally, when dogs are involved in theatrical productions, their roles are carefully scripted and their behaviors are thoroughly rehearsed. Burke wanted something that felt more natural and spontaneous for Comfort Dogs.
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“I didn’t want trained dogs doing things because they had to. That’s not what we were trying to do,” Burke explained. “The idea was to create an environment where the dogs could do anything they wanted, and no one would tell them not to be a dog.”
The result was about an hour of organic interaction between human and canine actors that complemented the play’s monologues and songs. The people also acted like dogs, sniffing, howling and scratching, while the three canine stars were free to be themselves. The dogs’ unscripted roles also meant that each show was unique. It felt like canine improv.
Working with animals, especially in an unscripted setting, presents logistical challenges—among them, finding the ideal performance space. An early iteration that enclosed the dogs on stage, per the original theater’s requirements, took away from the show’s free spirit. The space at JACK allowed Comfort Dogs to unfold as Burke had originally envisioned, showcasing the dogs’ natural behavior.
The three canine actors, each a different breed, size and personality, complemented each other as well, although they were primarily chosen because they were familiar with all of the people on stage. Bronco is Burke’s dog; Gypsy is bass player Paul Ketchum’s pup; and Bluet, whom Burke rescued from a local park, now lives with a friend. The actors’ existing relationships with the dogs grew as they worked on the play together.
It will also come as no surprise to any dog lover that the human actors learned a lot from being on stage with their canine counterparts.
“When you’re an actor, you always talk about ‘being present’ on stage,” says Burke. “With the dogs, they’re present all the time. It was certainly exciting to see.”
Now that Comfort Dogs has closed, the director hopes to work on a longer piece that incorporates more dogs. One of his ideas is to partner with a local shelter so that audience members could adopt the canine actors, making the play even more immersive.
It was refreshing to see Comfort Dogs explore canine theater in this manner, and I look forward to Burke’s next work. Incorporating shelter pups would be an exciting way to give back to dogs, who give us so much.