Review: Dog Man: The Musical (Southbank Centre / UK Tour)

Review by Jack Casson

⭐️⭐️⭐️⭐️

When Dav Pilkey scrawled his first comic strip for Dog Man back in 2016, he constructed a world where nonsense rules, friendship is cherished and creativity remains nourished. It is these three concepts that remain at the core of Dog Man: The Musical, the hilarious, family-friendly new show that is perfect for all ages. 

While Andrew Lloyd Webber’s Cats rules over at Regent’s Park, it is dogs that are taking over the stage at Southbank Centre. Based upon a selection of Pilkey’s now iconic comics, Dog Man: The Musical, direct from the U.S, is a joyfully chaotic thoroughfare of cascading carnage. Following a variety of Pilkey’s beloved characters, it begins with two friends, George and Harold, creating comics in a treehouse - a comic that they decide to adapt for the stage after being scorned by their drama teacher for messing around during rehearsal for their school show. Thus we are thrown into a veritable intensive course of musical theatre storytelling, villain tunes and “I want” songs abound.

It truly is a vital and perfect introduction for children into the craft and possibilities of musical theatre. The first number alone is a brilliant self-referential parody of iconic opening numbers, with references to Hamilton and The Book of Mormon giving adults something to admire. As the plot progresses and we witness the hilariously macabre origin story of the titular Dog Man (created from the head of a dog to the body of a cop), chaos becomes key. The divalicious pet fish Flippy is fed intelligence-enhancing pellets that give her villainous telekinetic abilities. The conniving cat Petey clones himself in order to create an extension of his mind but ultimately creates a childlike version of himself who later controls a robot aptly named the abbreviated ‘ADHD’. And lastly, towering buildings come alive after an explosion at a ‘living spray factory’. This musical is utterly raucous throughout yet manages to uphold a heartwarming story of found family and friendship as its ethos.

With a book and lyrics by Kevin Del Aguila, the show is a constant laugh fest, with classic pantomime-style moments that are perfectly suited for a British audience, and cultural references that, whilst a little dated, still manage to provoke laughter. The songs themselves are equally fun and energised and carry a depth that doesn’t treat the show as lesser than any other. Some of the best moments are those of Petey, who is given a Grinch-esque narrative with songs that provoke his villainy. Music by Brad Alexander overall feels contemporary and energetic with each musical number brilliantly directed and choreographed by Jen Wineman who makes the scene a visual feast. I will say that there doesn’t quite manage to be a standout number due to the pace at which we move through this story, but nonetheless the songs are fun and the book is smile-inducing throughout.

Where this show shines is in its faultless cast who work at rapid speed throughout this show to bring this utterly chaotic story to life. Sam Kipling as Petey is a complete joy to watch, morphing into a feline frenzy as he stalks the stage with an astute vocal expression that is classically villainous, alongside a sly physicality that is just hilarious. Accompanied by him is Rebecca-Jo Roberts who captures Li’l Petey's unflappable optimism that hilariously contrasts with Petey’s self-regarded pessimism. She is charming in her joyful expression but finds a surprising solemnity in the more heartfelt moments, a complete scene stealer who embodies childish energy.

Narrators Harold and George are played by Peter Lavery and Ricardo Mendes respectively, each capturing a boyish wonder at the world and multi-roles with hilarious attempts of varying effort. Vanessa Dumatey is a vocal powerhouse as Flippy and plays the villainous fish with conviction and menace. And lastly, Renan Teodoro as Dog Man is truly brilliant as a campy, over-the-top hound who recognises the ridiculous task of playing a dog but delights in it nonetheless. He presents the character with a drag-like comedy, for example when he breaks the fourth wall to flip his hair back and forth after we applaud Dog Man for promoting justice. I do wish that he was given a little more stage time given his titular role, but I understand the difficulties of writing a character that is innately non-verbal. 

The design work alone by Timothy R. Mackabee is enough to keep children mesmerised. Every single part of the stage is vibrant and cartoonish, with wonderful DIY props adding to the playful sensibilities of the narrative. Cityscapes are childishly created via bedsheets, and shopping districts are hilariously painted onto cardboard cutouts. The crafty nature of the set and props really adds an aura of authentic childish imagination. Some of the best prop work is found within the puppetry, with robotic fish and flying birds held on sticks as actors move across the stage vocalising the animals with hilarious glee. Ultimately, the show doesn’t try to conceal its handmade design, instead, it champions it for its endless possibilities. The set is surprisingly adaptable because of this and manages to fluctuate throughout, moving the audience from a treehouse to a laboratory by simply turning cardboard signs around. 

Similarly, the lighting design by David Lander is a neon rave throughout, working well to add a vibrancy to the stage space that is as mesmerising and saturated as Pikey’s comics. Not to mention, there are some brilliant moments of comedy in the lighting design such as spotlighting Petey during an Elvis-like ballad, or when the stage is illuminated in red, white and blue during a parody moment of Les Misérables. Heidi Leigh Hanson’s costumes are equally as impressive in their vibrant adaptability, managing to capture the spirit of the anthropomorphic characters without placing them in full animal suits. Dog Man wears a hat with flappy ears, Petey and Li’l Petey each share an orange and black striped top and Flippy, when fully alive, is festooned with bubble-like globules on a glittery purple apron. Once again, this creative team feel unified in framing the show as a playful creation of childish imagination. 

No matter your age, Dog Man: The Musical is a perfect treat, hilarious and whimsical, crafty and smart. The music is catchy and vibrant and alongside some of the more nonsensical moments, the show teaches children about empathy, duty and togetherness. This ragtag group of animals have captured the heart of young readers, and it is a joy to watch on stage. 

Dog Man: The Musical is now playing at Southbank Centre before touring the UK. Tickets are available at https://www.dogman.live/