What if British history was told through the subconscious of a drunk Lewis Carroll, against a backdrop of surreal music? It’s a strange thought, but I feel as though I’ve just seen it performed. Gone to the Dogs is an intentionally odd show. It’s built around an interesting concept and performed very well, though at times it can stumble towards being more elaborate than informative.

This is an avant-garde performance, exploring the very concept of Britain through an absurd musical array. It’s a piece that aims to challenge its audience – either through their understanding of imperialism, tyranny, and reputation or simply through their understanding of what it is they are seeing. It travels through British myths and histories, offering a satirical reflection on empire and propaganda, emphasising the need for individuality and creativity.

It certainly leaves you questioning how society adapts to new definitions of power. However, the constant barrage of stimuli coupled with the lack of coherent structure can sometimes make it seem like less of an exploration of British history, and more of an explanation of how migraines are formed. You might find yourself wondering if we’ll ever get to the part where they invented painkillers.

Tsari – otherwise known as Sarah Sharp – is an unquestionably talented performer with a keen eye for detail. Her musical performances are well delivered and, when discernible, a genuine joy to hear. Her wardrobe perfectly encapsulates the increasingly disheveled Britannia her performance hopes to evoke. The staging is wild, with elegant and obscure props flung haphazardly across the stage, as though the remnants from an antique dealership which has had a bad day; but every stylistic choice feels deliberate and precise, and these decisions are enhanced by Sharp’s incredibly self-aware performance that urges you to go with her through this unique and experimental experience.

Though each decision is bold and intriguing, the constant mesh of stimuli sometimes grows overbearing, causing the message of the play to feel lost beneath it all. Meanwhile, the concept is so large that individual issues sometimes feel overlooked or diluted. It would be interesting to see where the story could go if stripped back just enough to allow its audience to concentrate on more specific elements, or even what would happen if it were allowed more time to evolve.

In the meantime, Gone to the Dogs is certainly an interesting and thought-provoking piece, one that will leave you thinking about it long after attending as you try to make sense of whatever you think you just witnessed. There’s no doubt that the show will force its audience to examine the very essence of British identity.