Review: 101 Dalmatians – Edinburgh Playhouse

There is an indisputable truth lurking behind every adaptation of Dodie Smith’s 1956 children’s novel, ‘The Hundred and One Dalmatians’: the book is better. Yes, there are some ugly anti-Romani stereotypes to swallow at one point, but the story is much, much richer in every way. There’s no comparison – even with Disney’s gorgeous 1961 animated adaptation. I suggest you read it.

What then of this newest musical adaptation, with music & lyrics by Douglas Hodge, and a book from Johnny McKnight, from a stage adaptation provided by Zinnie Harris? If it sounds like there might be too many chefs in the kitchen, the somewhat muddled results on stage suggest precisely that.

The basic plot remains intact, with would-be puppy-fur coat wearer Cruella De Vil (Rachel Lea Gray covering for an absent Faye Tozer), menacing the offspring of two domestically blissed-out Dalmatian dogs, Pongo (Linford Johnson) and Perdi (Emma Thornett). Harris and McKnight follow Disney’s lead (boom boom) and have the two pooches conspire to pair their humans, this time named Danielle (Jessie Elland) and Tom (Samuel Thomas) in a park as part of the show’s opening gambit. Conversely, this show borrows, but alters the novel’s abandoned dog sub-plot, making it part of Pongo’s backstory, and the basis for his meet-cute with Danielle in the lost dog home where she works.

There’s nothing wrong with the bones of the first act – it may not inspire, but sparking dialogue and a good songbook can work wonders. Unfortunately, despite energised performances and some marvellous puppetry from the principal dogs and the ensemble in charge of all the other animals – there’s little of either in evidence.

The show’s musical anthem ‘Take Me Home’ is fine, if not spine-tingling, whilst others such as ‘Litterbugs’ – sung by De Vil’s curiously kind-hearted henchmen Casper (Charles Brunton) and Jasper (Danny Hendrix) exist to fill time more than anything else.

“If it sounds like there might be too many chefs in the kitchen, the somewhat muddled results on stage suggest precisely that.”

It’s important to state that the success, or otherwise of the songs, is no reflection on the abilities of a vocally blessed cast – there isn’t a weak voice in the mix. 101 Dalmatians – the musical – in the hands of weaker performers, would not be a pretty experience.

Further, all rules need an exception, and in this case, it falls to a charismatic Lea Gray to introduce her fur-obsessed fashion-house tyrant with a rousingly jazzy ‘Animal Lover’.

Otherwise, whilst there’s an abundance of punchlines and physical humour throughout, leave your corset at home – your sides are safe. Stuck between pantomime and marquee musical theatre, this comedy-drama is neither fish, flesh, nor good red herring – as my Grandma used to say.

**Production shots – 101 Dalmations – the musical – click to enlarge and for image details.**

There are even more songs, from the fine to the forgettable, packed into Act 2 (if you judge a musical by the sheer volume of songs, then it’s fantastic), but the drama nose-dives into some very odd territory indeed. Before the show’s 2 hours are out, children throughout the theatre will audibly sob over the body of a (seemingly) dead puppy, before watching a dog electrocuted with a cattle prod, and sent head first into the bars of an electrified cage. Jokes about ‘big stick energy’ will intertwine with an abundance of physical humour concerning bum-sniffing, threats of live-flaying, and a murder plot.

Some of the tonal shifts from light to dark and back are swift enough to incur whiplash. It’s not unlikeable, but 101 Dalmatians – the musical is an omni-mess, and likely beyond the ability of any Director, including Bill Buckhurst to make satisfactory sense of. When a stage direction reads, ‘Cruella, now part-weredog, dry humps Casper before sniffing Jasper’s bum’, despair is the sensible choice.

“Before the show’s 2 hours are out, children throughout the theatre will audibly sob over the body of a (seemingly) dead puppy, before watching a dog electrocuted with a cattle prod, and sent head first into the bars of an electrified cage.”

Oh, and no, the presence/absence of Faye Tozer in the central role doesn’t make the least difference. Star power can achieve many things, but it cannot transform a script, and Lea Gray has more than the chops as both actor and singer to deliver the role as created.

On the plus side, the show benefits from strong production values, not least Warhorse alumnus Jimmy Grimes lovingly made puppets, and a wonderfully cartoonish set from designer David Woodhead. The band under Leigh Stanford Thompson delivers a lively, dynamic sound, and Sarah Mercade provides a particularly excellent collection of villain couture for De Vil.

In the end, I hate to be so critical of a show which requires the blood, sweat, and tears of so many to the stage, but sometimes hard work and talent aren’t enough; the mix isn’t quite right, and the magic doesn’t happen.

Nevertheless, I will end with a compliment: the cat is great, and kudos to all involved in bringing that sassy feline to life.

Featured Image: Linford Johnson (Pongo), Samuel Thomas (Tom), Jessie Elland (Danielle), Emma Thornett (Perdi) credit Johan Persson