Book: Johnny McKnight
Writer: Dodie Smith
Stage Adaptation: Zinnie Harris
Music and Lyrics: Douglas Hodge
Director: Bill Buckhurst
Dodie Smith’s story 101 Dalmatians has endured over the past 70 years, first appearing as a serial entitled The Great Dog Robbery in Woman’s Day magazine in 1956, to the beloved 1961 Disney animated adaptation and the 1996 live action movie. It has had previous stage adaptation in both the UK and US and a previous but different musical theatre take in 2009.
First appearing on stage at Regent’s Park Open Air Theatre in 2022 it is now touring the UK in this musical iteration, with a book by much-loved Scottish playwright Johnny McKnight and music and lyrics by theatrical man of many talents Douglas Hodge.
On paper it should be a sure-fire winner, and while it scores highly in the cute factor (who can resist a bevvy of cuddly singing pups?), this modernised version, think references to Crocs, the smoking ban and Boris Johnstone, in reality, falls short of the mark.
Fellow Dalmatian owners Tom and Danielle meet and co-habit as quickly as their bum-sniffing mutts, who just as quickly start producing their own bundles of spotted fluff. Down on his luck fashion designer Tom has a chance encounter with the head of design company Haus of DeVil and an opportunity for some riches means he has to sign away the adorable puppies to its infamous owner Cruella. As Cruella’s dastardly plan unfolds it is up to the furry friends to foil it.
The entire production is riding on the backs of the furry puppets that are expertly given life by the talented actor/puppeteers, but the story is unevenly paced and takes time to warm up, as a result it frequently falls flat. There’s not enough to grab and keep the attention. Instead there are flashes of excitement followed by filler. The music is derivative and leans heavily towards the back catalogue of the Sherman Brothers. There are hints of Mary Poppins and Chitty, Chitty Bang Bang as well as Oliver in the Mockney songs. They act as filler in many cases rather than driving the narrative.
The production’s target audience is the very young theatre-goer (it lacks the appeal for pre-teens and even those heading towards double figures). That said, the peril is frequent and quite dark, causing a bit of distress among the children near me in the auditorium. Faye Tozer is relishing every moment as the arch villain. Her Cruella is very cruel: knife wielding, threatening to skin the baby bundles of fluff alive. There’s also a sequence with tiniest puppy Button brought back from the brink of death that’s a bit heart-wrenching even for the adults.
The cast cannot be faulted and the puppets and their operators are first class. The design is clever and inventive but it lacks the appeal of the original material, ultimately leaving you wishing it was so much more.
Runs until 16 November 2024 | Image: Contributed
The Reviews Hub Score
Falls flat
