By Catawba College student Amy Kimbrough

In Catawba College’s upcoming production of “Dog Sees God,” you get to revisit the characters from one of your favorite childhood cartoons. However, they are all grown up in Bert V. Royal’s “Dog Sees God: Confessions of a Teenage Blockhead.”

“Dog Sees God” runs Tuesday through Saturday, Nov. 14-18, at 7:30 p.m. in Hedrick Little Theatre on Catawba’s campus. Tickets are $15 for adults, $10 for non-Catawba students and senior adults, and free for Catawba College students, faculty and staff, and available for purchase online at www.catawba.edu/theatretix. Theatre-goers should be aware that “Dog Sees God” contains mature themes and may not be appropriate for audience members under 16 years of age.

After CB’s beagle dies from rabies, he seeks the answer to the play’s fundamental question: “What happens after death?” Unsatisfied with the explanations and lack of comfort he receives from his childhood friends, CB turns to an unlikely individual.

Compelling. Humorous. Deep. Edgy. This contemporary take on a childhood classic is sure to illicit a wide range of emotions from anyone who sees it.

The cast includes Darren Vance of Ruffin as CB; Krissey Browder of Wilkesboro as CB’s sister; Jameson Clanton of Garner as Beethoven; Sarah Grace Cuthbert of Alexandria, Va., as Tricia; Charles Karvon of Concord as Van; Caroline Kirk of Matthews as Van’s sister; Claire Raimist of Woodsboro, Md., as Marcy; and Mason Livers of Chesterfield, Va., as Matt.

The show is directed by Peyton Glendinning of Panama City Beach, Fla. and stage managed by Taylor Kroop of Boynton Beach, Fla. The creative team also includes Professor David Pulliam as scenic designer, Professor Christopher Zink as lighting designer, and Summer Eubanks of Panama City Beach, Fla. as costume designer.

On the themes of the play, student director Glendinning says, “[They] have always spoken to me and are especially powerful through the vehicle of the… characters. The play says a lot about the loss (or even, the rejection) of childhood and labels, as well as going a bit deeper. The exploration of how young people cope with societal factors and mortality is often glazed over, where this play is unflinching to the point of ridiculousness.

“The weight of the show is something we have been addressing head-on since the beginning,” Glendinning continues. “Our warm-up games are normally very enthusiastic and fun, but the cast also participates in mindful meditation to clear their heads whenever we begin rehearsals.”