More About the Show

This show runs approximately 2-1/2 hours, with one intermission.

Please note: some language may offend audience members.

THE  HOUSE OPENS 45 MINUTES BEFORE CURTAIN. You may want to arrive early to enjoy the exhibit in our art gallery with refreshments ranging from coffee and cookies to beer and wine.

POST-SHOW DISCUSSION: Join the company of Dog Logic for a post-show discussion following the Sunday matinee on March 1.

AUDIO-DESCRIPTION: The Sunday, February 23rd performance will be audio-described, based on reservations. Click here for a description of this and other access services at TRP.




About the Show

(company members are listed at the bottom, following the interview with the director)

Is it a comedy…a drama…an American fable? Well, it’s all of that and more — because it’s a look into the unique mind of Hertel Daggett, a reclusive ex-hippie who lives in a junk pile and talks to dead animals as the owner of an abandoned pet cemetery. But Hertel’s monologues and philosophical musings are interrupted when a smarmy real-estate magnate uses Hertel’s
ex-wife and his long-lost mother in a plot to develop his cemetery into a shopping mall.

Miriam Monasch returns to the arena, where she has acted in six productions and directed Jane Austen’s Emma.

Interview with the Director

Q: You have personally communicated with the playwright, Tom Strelich. What insights does this provide you in directing his show?

MONASCH: Actually, my friend from high school, Darrell Larson, played Hertel in the first production in California and then directed and starred in it in its NYC premiere. I have spoken with Tom Strelich a couple of times and read his novel by the same title as the play. More than anything, I would say that these associations have given me an overall “feel” for the play and the ambiance I want it to have.

Q: This show has been described as a lighthearted comedy, a dark farce, a surreal drama, and a cautionary American fable. How would you describe it?

MONASCH: I can’t go with “light-hearted” but I do think it’s a comedy. A dark comedy that focuses on the emotional disconnects that so many of us are feeling in the current cultural climate.

Q: What’s the biggest challenge in mounting this show?

MONASCH: The play is completely character driven. Working with the actors to round out each quirky individual in the play is the main challenge.

Q: Do you have a favorite scene in this show?

MONASCH: I love the scene between Hertel and Kaye when he explains how wonderful it was for him to have a dog’s sense of smell and how that sense changed how he perceives the world.

Q: This is your second time directing at TRP – and Dog Logic couldn’t be more different than your first effort, Emma. What does each script style offer you as a director?

MONASCH: Emma was about trying to bring new life to a beloved, well-known story and make the characters immediate and accessible. With Dog Logic, I want the play to make people think about how broken the world is right now and how that external reality affects us in deeply personal ways.

Q: You have both directed and acted on TRP’s arena stage. Which do you prefer in this particular venue?

MONASCH: I love TRP’s arena! Acting on it requires being open to the intimacy with an audience that a proscenium doesn’t require. And directing for it (especially with actors not familiar with its challenges) makes me continually reevaluate my choices. For example, I may go in with one idea for blocking, but by opening night, it’s been completely changed.

Q: Anything else you’d like the audience to know?

MONASCH: People should come to the show ready to really listen. This isn’t a plot/action driven play. The characters and language (especially in Hertel’s monologues) are laying bare their deepest realities. Also, any audience members who have issues with bad language should steer clear.


The Company

Dale: Ian Fyfield
Anita: Meri Golden
Hertel: Josh Jabas
Kaye: Stacey Poirier

Director:  Miriam Monasch
Set Designer:  Latoya Dennis
Lighting Designer:  Adam Reinke
Costume Designer: Deb Murphy
Prop Designer:  Robert J. Smith
Sound Designer:  Anita Kelling
Stage Manager:  Lynn Seeling