Review: Lively family fun in ‘Dog Man: The Musical’ at Kirk Douglas Theatre
Most kids who have read the books in the “Dog Man” series by Dav Pilkey have likely never heard the author’s voice. But in the pre-show announcements, the kids are treated to the dulcet tones of the man himself, at which point my son turned to me and asked, “Is that really Dav Pilkey?” Indeed it was. Or at least it was a recording of his voice. “Is he in the theater?” No, but it sounds like it, right?
And this musical adaptation, with book and lyrics by Kevin Del Aguila and music by Brad Alexander, basically of the first three books in the series, brings the humor, heart and silliness of Pilkey’s writing into the theater. Center Theatre Group brings the experience outside the theatre as well — in the lobby pre-show are tables where kids can color and create their own Dog Man finger puppets, a reading nook stocked with various books from the series and an obligatory merch counter that’s de rigueur for any touring musical.
Even before the characters take the stage, Timothy R. Mackabee’s wood-paneled treehouse set gives kids-corner-at-the-library vibes, with a hint of cabin-in-the-woods. And as the show goes on, the seemingly hand-painted set pieces and props feel intentionally DIY, a nod to having been drawn by fifth graders.
Those fifth graders, George Beard (Troi Lennox Gaines) and Harold Hutchins (Leland Hao) employ Pilkey’s signature metatheatricality in introducing the fact that they are writing a musical based on their Dog Man comic books because they were kicked out of their school’s musical production of “Annie.” As known pranksters and regular residents of the principal’s office throughout the Captain Underpants series (also by Pilkey), their story tracks.
The first song, self-referentially titled “The Opening Number,” is written in classic Broadway-showtune style. It introduces the cast, as well as the backstory of the main character: when Officer Knight (Zack Abbey) and his sidekick Greg the Dog (a handpuppet) end up in the hospital after unsuccessfully trying to diffuse a bomb, the only salvageable parts of them (Greg’s head and Knight’s body) are sewn together to create Dog Man.
Over the next few songs, the two principal villains in the piece, Petey the Cat (Xavier Cornell) and a psychokinetic cyborg butterfly fish named Flippy (Penelope Hinds), are introduced as well. Part of Petey’s plan for revenge is to clone himself, resulting in Li’l Petey (Lauren Dodds), who thinks he’s Petey’s son, while Petey insists on referring to him only as his clone, at least initially.
The musical numbers are all lively, and more than a couple have a throwback ‘70s feel, including “Robo-Dance Party,” which actually features a disco ball and is reminiscent of Michael Jackson’s “Off the Wall” album. Most didn’t stick with me after the show, though I did catch my son humming “Dog Man!” a couple days later.
Ironically, Dog Man is not able to sing (as per Pilkey’s stipulation, since he doesn’t talk in any of the books). But a combination of other characters singing for him (as George and Harold do in “The Perfect Mashup”), and Abbey’s vivacious nonverbal physicality, make us quickly forget that fact.
Dodds brings a wide-eyed childlike energy to Li’l Petey, and Cornell preens and struts with Petey’s signature evil confidence. Gaines, Hao, and Hinds likewise play their characters as larger than life, necessary for the presentational, over-the-top style that helps keep younger audience members engaged and even invites their responses.
In that spirit of engagement, Jen Wineman’s direction and choreography keep the show moving (literally and metaphorically). She incorporates both viral dance trends from recent years and classic childhood hand-clapping routines into her movement, and especially showcases her skill at keeping the machine well-oiled while juggling multiple set, scenic and costume changes in “Dog Man is Go!”
Completing the spectacle of it all are David Lander’s colorful lighting and Heidi Leigh Hanson’s costumes, which nicely evoke the non-human characters without hiding the actors playing them.
In adapting the series for the stage, Del Aguila and Alexander have excised some of the potty humor in the books, but also some of Pilkey’s allusive puns and references targeted at the adults who often read the books to or with their kids. It’s a minor quibble, as the spirit and tone of the source material has largely been kept intact, and perhaps enhanced in some ways by the music.
For kids who are obsessed with the “Dog Man” series, the show provides a way to experience their favorite stories in a new medium. And for kids less familiar with the source material, “Dog Man: The Musical” provides an entertaining romp that will keep them away from screens for at least an hour-and-a-half, which is a win for most parents these days.
“Dog Man: The Musical” continues through Oct. 18 at the Kirk Douglas Theatre, 9820 Washington Blvd., Culver City, with shows Tuesdays through Thursdays (times vary by week), Fridays at 7:00 p.m., Saturdays at 11:00 a.m., 3:00 p.m. and 7:00 p.m., and Sundays at 1:00 p.m. and 5:00 p.m. For tickets and other information, visit CenterTheatreGroup.org or call the box office at 213-628-2772. Run time 95 minutes with one intermission.
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