The touring production of 101 Dalmatians at Manchester’s Palace Theatre brings a lively and engaging rendition of Dodie Smith’s classic story to the stage. With a blend of vibrant performances, stylish design, and memorable music, this adaptation, while not flawless, is a step up from its earlier version and provides a delightful experience for audiences of all ages.
Kym Marsh shines as Cruella de Vil, delivering a performance that is both competent and compelling. She convincingly portrays the villainous fashion designer with a flair for the dramatic, infusing her role with a campy pantomime energy that makes her a standout. Marsh’s ability to balance the character’s menacing traits with a flamboyant theatricality helps to anchor the production and keeps the audience engaged.
Puppetry plays a significant role in this production, with mixed results. The designs for Pongo and Perdi are particularly impressive, and their puppeteers skillfully bring these beloved characters to life. The movements are fluid and lifelike, capturing the essence of the Dalmatians. The feline puppets also add a touch of charm, showcasing the attention to detail in their design and operation. However, not all the puppetry meets this high standard. Some of the other puppet designs feel underdeveloped and lack the same level of sophistication, which occasionally detracts from the overall visual impact.
The transition from the Regent’s Park Open Air Theatre to the current touring version has brought about notable improvements. The production feels more streamlined and cohesive, with a stronger sense of identity. The changes have been well-received, making the show slicker and more polished. This refinement is evident in the pacing and overall structure, contributing to a more enjoyable viewing experience.
Costume and wig design by Sarah Mercadé is a highlight, with effective and aesthetically pleasing outfits that enhance the visual storytelling. The costumes maintain a strong and consistent look, aligning with the show’s vibrant and whimsical tone. They play a crucial role in defining the characters and adding to the overall spectacle.
Charles Brunton and Danny Hendrix as Casper and Jasper deliver performances that lean heavily into pantomime tradition. Their roles as bumbling sidekicks are filled with humour that caters primarily to children, providing comic relief that is both endearing and entertaining. Their dynamic adds a playful element to the show, although it sometimes feels a bit too tailored for younger audiences.
Despite the many strengths, the production still has areas that need improvement. Certain scenes, such as “I Can Smell Puppies” and “Litterbugs,” suffer from uninspired direction. These moments fall flat and lack the creativity and energy needed to keep the momentum going. The ambitious attempt to create a show-stopping “Defying Gravity” moment at the end of Act One with “Für Fun” does not quite hit the mark. The direction here feels overreaching, failing to achieve the intended climactic impact.
Douglas Hodge’s score is melodically pleasing and has its memorable moments, though it sometimes lacks the necessary energy to fully captivate the audience. Lyrically, the songs often strive for cleverness but don’t always succeed, occasionally feeling forced. Some musical numbers seem extraneous, disrupting the flow of the narrative rather than enhancing it.
The comedy throughout the production is hit and miss. While there are moments of genuine humor, the comedic identity of the show is not always clear. At times, it resorts to cheap gags instead of more sophisticated humour, which can be jarring and inconsistent.
However, the wigs and costumes consistently excel, tying the ensemble together and complementing the set design effectively. These elements help create a cohesive visual experience that supports the storytelling and enhances the overall aesthetic of the show.
The cast, including Linford Johnson as Pongo and Emma Thornett as Perdi, delivers strong performances, supported by a dedicated ensemble. The creative team, led by director Bill Buckhurst, has clearly put significant effort into bringing this canine adventure to life with vibrant choreography and engaging musical supervision.
In conclusion, 101 Dalmatians at the Palace Theatre is a notable improvement over its previous version. While it still requires some fine-tuning to reach its full potential, it offers plenty of entertainment with its charming puppetry, stylish costumes, and spirited performances. This production provides a delightful, if imperfect, theatrical experience that is sure to entertain audiences of all ages.
101 Dalmatians is playing at the Palace Theatre until Saturday 10th August 2024 where it will continue its UK tour.
Photography throughout from Johan Persson.
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