The Bruntwood Prize-winning playwright, alongside the Ransack Theatre team, discusses the new Jurassic. Jurassic uses an absurd squabble over palaeontology to examine the mechanics of post-truth discourse and why basic facts are so easily politicised.
The Playwright’s Lens: A Silly Story with Historical Teeth
For playwright Tim Foley, the play’s premise—a dispute over dinosaur facts—has a resonance that stretches back centuries. He notes that the conflict between empirical evidence and dogmatic belief is a recurring pattern.
“It’s funny to think that dinosaurs were originally branded as ‘fake news’ by a sector of Victorian society,” Foley explains. “The scientific evidence didn’t match their interpretation of the Bible, and so they dismissed it.”
However, the core motive for the play, Foley maintains, was driven by theatrical impulse. “I’d love to say I was thinking about any of that when I was writing the play, but I probably wasn’t,” he admits. “I think I just wanted to write a silly play about dinosaurs.”
“It’s funny to think that dinosaurs were originally branded as ‘fake news’ by a sector of Victorian society…”
Tim Foley
The Ransack Ethos: Hitting Hard in 60 Minutes
Ransack Theatre is known for work described as “gut punch theatre,” and the producers insist this comedic show maintains that intensity. They emphasise that humour is a strategy for engagement.
Ransack states: “We always try to make theatre that has a sense of humour. Laughter is such a great way in. If we can make people laugh, we can move them too.”
Describing the structure of the one-hour piece, they see it as a high-speed confrontation: “Jurassic felt a bit like a boxing match or maybe a five-set tennis thriller, depending on your sport of choice.” Ransack argues the ultimate impact comes from watching the world collapse: “As the play progresses, the world and institutions inside Jurassic get destroyed and remade.” They summarise the work as one they hope is “devastatingly fun.”
The Symbiotic Feud: Identity through Opposition
The play is a two-hander, and the relationship between Alastair Michael and Matt Holt’s characters is defined by a necessary hostility. Actor Michael details this intense dynamic:
“Oh we need each other! Despite the feud, which both characters relish, and are determined to win at all costs, there is a bond. Not of affection, but of opposition. We sometimes define ourselves by what we think we are not, in opposition to things. And in this way they sort of come to define one another. But the differences between them begin to be eroded as the feud deepens.”
The Logic of the ‘Double Down’
When discussing the real-world behaviour that informs the script, Foley’s focus is on the profound human commitment to a position, regardless of facts. He admits a certain dark appreciation for the phenomenon.
“Jurassic felt a bit like a boxing match or maybe a five-set tennis thriller, depending on your sport of choice.”
Ransack Theatre
“I have to say though, I am an admirer of the ‘double down’ and the knots people twist themselves into,” Foley remarks. He offers an illustrative example: “There are some classics out there – who can forget the Arsenal Twitter spat over whether one of their footballers was 28 or 29? Why let facts get in the way of a good bicker! Both the characters of Jay and Dean are liable to dig their heels right in – that’s what makes it such a juicy fight.”
The ultimate goal for the entire team is to leave the audience shocked and amused. Foley states his desired post-show conversation is direct: “I want them coming out of the show, buying a drink at the bar, turning to their friend and saying ‘what the f*ck was that?’ (I also want them massaging their bellies from having laughed so much.)”
Featured Image: Ransack JURASSIC Sept 2025 – Chris Payne
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