101 Dalmatians – New Theatre, Oxford

Book: Johnny McKnight

Music and Lyrics: Douglas Hodge

Writer: Dodie Smith

Director: Bill Buckhurst

For the long term health of our musical theatre industry, it is vital that we see producers taking fresh, original shows out on the road so that audiences can discover new delights that go on to be as popular as those oft-revived hits from the past. It is therefore sad to report that this new stage version of 101 Dalmatians falls well short in a number of key areas. On the showing of the current production, it is unlikely to be revived beyond the end of the current tour.

This should in no way reflect on the cast, each of whom is clearly very talented and doing the best they can with the material provided. But it simply is not enough to rescue the script and score.

Any musical needs a score packed with memorable songs that linger in the memory long after you have left the theatre. Douglas Hodge knows this having starred in many musicals throughout his career. But as a composer/lyricist, he seems unable to deliver music and words that stay with you beyond a few minutes. Some are so short as to add next to nothing to either plot or character. And some such as The Pub Song are over-extended, unnecessary and further slow the action.

The lyrics are largely lost in the ensemble numbers due to the overly emphatic sound design, which masks most of what is being sung. The New Theatre is a notoriously difficult venue for visiting companies to achieve a good sound balance, but this is just too loud for the lyrics to stand a chance of being heard clearly, let alone understood and enjoyed.

Visually it is hard to find fault with the set and costumes. The production does feel lavish, well put together and designed with care and attention. Much of this good work is undermined by the lighting design that has a tendency to shift attention away from the action onto the lighting itself. This is most noticeable in sequences where the arches that frame the stage are changing colour rapidly during some of the songs. This takes the audience’s attention from the stage and onto the moving lights.

The one key element that could have gone very wrong is the portrayal of the dogs and puppies themselves. Thankfully the puppetry deployed is triumphant. Each animal character is created with personality and flair. It is clear to see how much time and devotion has gone in to make this work so successfully. Overall this is by far the most successful part of the whole endeavour – utterly charming.

Ultimately this has the feel and tone of a pantomime, particularly with the portrayal of Cruella and her sidekicks. Now there is nothing wrong with panto as a genre but a family musical needs something more to ensure that it satisfies all generations.

With a weak score and a mediocre book, this is not reaching the standards expected of a high-profile touring production. Younger audience members will not see much beyond cute puppets and thus enjoy the experience. But adults looking for a piece of musical theatre that works on all levels run the risk of being disappointed.

Runs until 7 December 2024 and on tour