101 Dalmatians The Musical at Eventim Apollo Review
Written by Amelia for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
101 Dalmatians is a beloved classic written by Dodie Smith in 1956, which was then adapted into a movie by Disney in 1961. The story has lent itself to many adaptations and reiterations over the following six decades, some better than others, may I add, but the newest reimagining comes in the form of a glitzy musical. Inspired by the novel, as opposed to the Disney film, this production has been adapted by Zinnie Harris with music and lyrics by Douglas Hodge and a book by Johnny McKnight. The production premiered at Regent’s Park Open Air Theatre in 2022, very apt considering this is where the show is based and then embarked on a UK tour in 2024. The question is: What warrants a show about 101 dogs with spots, and why do we have to stunt cast in order for it to run?
I don’t think the show is entirely justified in its existence, purely because we are currently churning out so much pre-existing material and not making space for new British theatre. This is not the fault of 101 Dalmatians, but it does little to validate why it’s continuing to be produced when there’s a whole lot of heart, but an incredible lack of substance.
The characters of Tom and Danielle, who are our protagonists besides the dogs, aren’t fully fleshed out, but incredibly charming and easy to root for. Laura Baldwin is consistently a standout performer in each show she does, and she truly captures the heart of the piece and uses it to drive her performance. Opposite her is Samuel Thomas as Tom, who is equally pleasant, and they work together to form a wonderful partnership. Their dogs, Pongo and Perdi, are reflections of these characters and are played by Linford Johnson and Emma Thornett, respectively. Both move the puppets with ease and show a great range of motion and ability, which enhances their characters. The whole cast does wonders to bring the dogs to life, led by puppetry designer and director Jimmy Grimes and choreographer Lucy Hind. The only downside for me was when the puppies were born, and a cast member was just moving their heads very clearly, which somewhat spoiled the magic for me.
Now, for some reason, I just wasn’t expecting the dogs to sing. I knew there was an ensemble, obviously, but when they started harmonising in the first song, I was a little taken aback. It took me a while to figure out that the humans couldn’t hear the dogs (this is not Scooby Doo), but this is not made entirely clear when there’s quite a lot going on in the first 15 minutes. The dog choir in the first song, ‘Take Me Home’, was not my favourite choice; I think this came down to the sound being so garish that it took me a while to get used to it. The dog songs got better as the show progressed, and there were some delightfully earnest moments, especially in the second act, that really pulled on your heartstrings.
The star of the show comes from Cruella herself, Sydnie Christmas. Sydnie is a masterful villain and has the audience on the edge of their seats with her vocals. She captures the character perfectly while putting her own spin on existing renditions. I do hope she goes on to have a career in theatre, as there are already roles I can envision her playing. As a fashionista, I was a little let down by her costume design, as I think they could’ve done more to make it grand or at least give her different things to wear in different scenes. We see a lot of time pass, but she’s consistently in the same outfit, with the exception of the end of Act 1. She is joined by her nephews, Jasper and Casper, played respectively by Aston Merrygold and Jeff Brazier, in this theatre debut. Merrygold is no stranger to theatre, having been in the Wizard of Oz as the Tin Man and performing well. Brazier, however, is an interesting cast choice and one that I unfortunately could not get behind. He constantly stood as if he was going to wet himself and played the character as if he were 6 years old instead of an adult. I understand this role is a fun, idiotic sidekick, but I think he took the ‘idiotic’ part and just ran with it. He draws eyes in the dance numbers due to a lack of flair in his movement and ultimately does more to bring the production down than up. I’m hoping he may improve as the run goes on, but this was an attempt to draw audiences that I just don’t think was necessary.
The Eventim Apollo is a lovely venue, but I just don’t think it is suited for theatre. The space is so grand, but the actual stage is not big at all, and therefore the productions get lost, especially if you’re sitting in the dress circle. The backdrop of the stage is completely reminiscent of Shrek from last year, and the set design has some strong elements, but ultimately does not support the grandeur of the story, especially when they’re supposed to be in the Haus of De Vil. Set designer David Woodhead created some lovely foundations, such as the ‘Hair of the Dog’ pub and encapsulating Tom and Danielle’s flat, but those are the only standouts for me. The sound and lighting can be overbearing, with some instances feeling more indicative of a concert rather than a theatre production, but this seemed to calm down during the second act. Overall, I think this production would fare better in a smaller venue, where it can utilise the space more to its advantage.
Overall, the production is fun and charming to a certain ‘pedigree’, and the gorgeous real dalmatian brought on at the end is almost worthy of 5 stars within itself. However, the issues cannot be overlooked here and unfortunately do not conflict with the entertainment factor of the show.
101 Dalmatians The Musical plays at the Eventim Apollo until the 30th of August.
★ ★ ★
