Inspector for the charity, Robyn Myszor, said: “The dog was a white and tan male entire Staffordshire bull terrier cross. Read More Related Articles

Dr Leanne Calvert, a folklore expert and history lecturer at Hertfordshire University, agrees adding, “the ‘dead dog in a suitcase’ story thrives in urban areas arguably because it is a social comment on unreasonable bosses and the pressures of work and crime and distrust in cities. Would you ever take a stranger's offer to carry your bag off a train in London? That's a red flag for most people.” Mayor Goodman has been assassinated. Contract killer Macheath has just married Pretty Polly Peachum and Mr and Mrs Peachum aren’t happy. Not one bit. I’ve listened to The Damned, Jimi Hendrix, Kate Tempest, Purcell, John Taverner, PJ Harvey, Portishead, Tom Jones, Monteverdi and Mozart. The Scottish SPCA is now appealing for anyone with information about the incident to come forward to helpA compelling piece of theatre… One of the most joyful experiences you’ll have in a theatre this year.”– Haus of Phag We are in the Age of the Profoundly Stupid and I long, with all my heart and soul, for change and a new age of enlightenment where we can all be global citizens.

Unfortunately, though, these important debates are being spoiled by a vocal minority of trolls who aren’t really interested in the issues, try to derail the conversations, register under fake names, and post vile abuse.

But then – the audience is barked "Over the top!" after the men, into a field (direction by Matthew Dunster). We pass soldiers, mired in mud, tangled in structures, calling, groaning. Against the reality of the trees, such make-believe seems tawdry. Inside the wood, red lines of light suggest tracer fire; images of soldiers are suspended between trunks, lie among the leaves and twigs. Jon Bausor's design inspires heart-strong contemplation. Instead, the actors continue the too-obvious pretence. No matter how well done, it feels like a travesty of horror. Wyn Griffith, in his tweed suit, walking through the trees and remembering, as so simply and movingly performed by Michael Elwyn, would have been enough. Kneehigh’s version of The Beggar’s Opera is brought bang up to date and couldn’t be more enthralling… Inventive… Excellent stuff.”– Daily Post Wales What plays out next is writer Owen Sheers's reimagining of the assault delivered through narrative (Wyn Griffith's memories), description (Jones's poems), reports (a line of typists), letters home and monologues (with occasional dialogues) of soldiers and their loving women. There is also a parallel narrative about Einstein's theory of relativity. The space of drama – which allows audiences to evaluate characters, weigh decisions – is absent. What we are given is educative commemoration – the engagement called for is one of interested sentiment. Given the material, this is willingly rendered. Finally, director Mike Shepherd highlights a parallel between the story of our antihero Macheath and that of Mr Punch (of Punch and Judy fame) through the use of puppetry, expertly led by Sarah Wright at this performance as chief puppeteer. From Punch, to dogs and crying babies, the puppets serve to remind the audience how ridiculous and pantomimic the actions of the real world characters can seem at times, forcing us to question who the real heroes and villains are in our society.