Hilarious and Heartfelt: ‘DADS’ is a Celebration of Our Relationships with Fathers
Content Warning: ‘DADS’ includes discussion of suicide. Although this review does not discuss these topics, there is compassionate mention of it within the performance.
Everyone has a dad: the title can mean something different for each person, but nevertheless, our relationships with them can change the trajectory of who we are. This year, DADS, a production by Found Objects Theatre presented at the Kick & Push Festival, probes audiences’ shared experiences of navigating these often tumultuous familial relationships. The result is a show unique each time it is performed, shaped by the father figures of its audiences.
The Rehearsal Hall of the Tett Centre for Creativity & Learning is set up simply yet effectively: staged in the round, there is only one row of seats arranged in a square, with a few small tables and stools between audience seats for Taylor Trowbridge (performer and creator), to lounge on and move to throughout. In the centre of the stage space, a black and white carpet separates the floor to create a homey feel, setting the area between the audience rows apart from the sprung floors and exposed limestone walls that are characteristic of the Tett: upon first seeing the space, it almost felt as though I had walked into an abstract version of someone’s childhood home.
The place Trowbridge returns to most is a white stool, with a small miniature house and service bell she rings during the sections of the performance where a game is played. The location of these set pieces not only amplifies the show’s intimacy, but also ensures audience members always have a clear view of the performance. Dylan Trowbridge (director) does an excellent job with the blocking and overarching vision for the staging of the production, amplifying the space’s closeness and always giving the audiences a new place to look at Taylor Trowbridge and each other.
The lighting (designed by Tim Fort) is well suited to the style of the piece, working with the sound (designed by Erik Richards) to “flicker” in and out at certain moments and highlight the show’s many emotional beats. Despite the small space, Fort and Richards aid in creating a warm atmosphere for audiences to participate in. Moreover, by using dimmer lighting focussed on the performer and more melancholic music during somber moments, the pair close off the interactions between performer and audience so the focus falls solely on Trowbridge’s performance. The beautiful vocal tones which make up much of the sound design are performed by Harmony Trowbridge, siblings with Taylor and Dylan, and are often simultaneously ambient and haunting.
In DADS, audience interaction is not just welcomed, but propels the show forward. Before the performance begins, Taylor Trowbridge roams around the room, welcoming in each audience member while they find their seats. As she approaches, she hands audience members who wish to partake a cue card and pen, which she later collects, asking them to write one or two words for each prompt: one challenging trait you share with your dad, and one positive, which may be anonymously shared at the end of the show. As the lights dim and the show begins, Trowbridge encourages audiences to interact in whatever way is most comfortable for them: “There is no fourth wall… only the walls that surround us in this room.”
Some audience members, including myself, are given papers with parts of the script on them, and are instructed to read aloud when cued during the show. This clever choice means characters other than Trowbridge are given a new voice, effectively drawing attention to certain parts of the performance, and earning a few laughs when a line unexpectedly comes from a neighbour.
At a midway point in the performance, where the content reaches some of its darkest, a guest comedian performs a ten minute set, related to dads, in a corner of the space. Trowbridge sets up a mic, the lighting changes to a single spotlight on the comedian—in my case, Chad Noonan, as I attended the August 1st performance—and audiences are treated to a comedic set from a new voice in the middle of the play.
I loved this aspect of the show: Trowbridge mentions later that her dad always saw comedy in grim moments, and in this case, I have to agree. The placement of the stand-up feature is surprisingly well-suited and I felt myself easing into it the more it went on. Noonan’s routine was lively, inviting further audience interaction, as comedic sets do, and the audience was continually engaged by running bits he had with certain members of the crowd. I also commend the production team for including this as a way to highlight local comedians and once again ensuring that each show is a new experience for audiences each time.
Another clever element of DADS is the gamification of the theatrical experience, with an aforementioned game played with the service bell throughout the show. Each time Trowbridge wanders to the service bell and rings it, she asks the audience a series of questions about their dads, and we are asked to raise our hands if they hold true for us. After these sections, we resume the show, until the next time the bell is rung. Trowbridge also asks four questions throughout the show, to be answered with words, letting audiences to tell stories about their dads, and asking a follow-up question or two each time. Each time after sharing, Trowbridge asks what his name is.
Beyond my love of the various, layered interactive parts of this performance, it would be a tragedy to not mention Trowbridge’s performance itself. She is an excellent storyteller and writer, and navigates the often difficult subject matter with ease; there is never a moment where her energy lulls, and as a result, the audience is kept at the edge of their seats for the entire 75 minutes. Furthermore, despite the many methods of participation throughout DADS, Trowbridge is mindful and realistic about the participation she may or may not receive, and is upfront from the beginning that audiences do not need to partake in anything at all, if they wish, ensuring the show is an accessible space for everyone. It is clear so much care has been taken with this piece, and I commend the team for being so thoughtful about audiences’ lived experiences, while also creating levels of interaction to best suit the needs of those who see and partake in the show.
In short, I adored this production. DADS is a celebration of the collective art of creating theatre: each time, new dads are introduced by audiences, a new comedian is featured, and new participants perform parts of the script, but regardless of the many changes, the entire team is able to balance comedy with heart and portray sincere emotions with tenderness and empathy. Through intimate yet safe participation, this show is a joy for audiences who have yet to experience directly-participatory theatre, and for avid theatregoers who love to be further immersed in the stories we witness on stage, especially one as personal as the stories we share with our father figures.
‘DADS’ was presented by the Kick & Push Festival, and played at the Rehearsal Hall in the Tett Centre for Creativity & Learning from July 28th to August 1st, 2026. More information can be found here.
