Review of ‘101 Dalmatians’ (2025 Eventim Apollo Hammersmith): “Contemporary canine-onical adaptation gives a few treats to the audience, but hardly the zoomies”

Following its UK tour, the production returns to the London scene, in a limited summer run playing until the end of August. Guillermo Nazara shares his views on the show — to let us know if it unleashes any magic or if anyone involved should instead be put in a correction collar.

I wouldn’t like to come across as too dog-matic (yes, that’s the kind of review we’re going for today, pups), but there are certain basics in the crafting of a musical that nobody should skip. I don’t intend to be too black and white about it (praise me for that one). However, when it comes to structure, any proper family show with a vitriolic antagonist needs a suitable introductory villain’s song. 101 Dalmatians seems to forget that, while we should usually stay away from strict, overused formulas, they still exist for a reason — and some rules are worth learning even if you end up breaking them.

It may sound a bit sketchy to start a critical piece by denouncing the absence of a pivotal element. But to be fair, that’s also how this musical feels, despite its overall entertaining quality. It’s missing a lot from a creative perspective — eventually, coming off as an array of ‘almosts’ rather than checked points.

Douglas Hodge’s score is sentimentally striking and melodiously accessible. Its main anthem, Take Me Home, reprised all through the performance, is a hard earworm to kill — though such memorability is arguably limited to a single-bar motif (then again, that’s the case with hundreds of other thematic icons). There are a few lines in his lyrics that denote an interest in some amusing wordplay — A Walk In The Park is probably its flashiest gem.

Yet, the final impression his songs leave us with is predominantly bland — overall, sounding too similar and unable to convey any uniqueness or individuality. His verses can’t be exempt from a slap on the snout either. Even though they drive the plot forward effectively enough, their style comes off as too prosaic and unformed — constraining the flow of the tune through their unpolished prosody and ongoing stream of exceedingly lazy rhymes.

Johnny McKnight’s book manages to display some occasional brilliance — Cruella’s passive-aggressive remarks (some would call it the quintessential expression of British fondness) are an undisputed crowning achievement. However, the pacing is off too many times, generally coming off as too rushed. There’s an excessive focus on easy gags rather than thorough narrative development — going for Deus ex Machina solutions that might not be howling mistakes but certainly bark the wrong tree.

Bill Buckhurt and Jimmy Grime’s direction makes a satisfactory use of the venue through traditional blocking stunts (Stewie Griffin knows how important it is to have actors walking down the aisle), as well as the intimacy of the staging. David Woodhead’s design creates a sense of homeliness by masking a third of the space and opting for a practical assortment of simple props. Its combination with James Whiteside’s intricate, atmospheric lighting successfully transports audiences into the story’s universe. In addition, Grimes’s cartoonish puppets bring our four-legged heroes to life with refreshing skillfulness — not too innovative or complicated, but a triumphant effort nonetheless.

The cast boasts infectious stamina in their renditions — their faultless vocals are a splendid highlight that never ceases to compel. The acting is not as refined, though. Their portrayals are, on the whole, enjoyable, but they exude an exceedingly methodical vibe that makes them occasionally flat. Sydney Christmas makes Cruella de Vil shine through her camp attitude and even more arresting singing, and some of the traits that define this different breed of animal lover are undeniably spot-on. Yet, her performance is far from perfect, feeling slightly mechanical and lacking the natural confidence the character calls for.

Reviving Doddie Smith’s endearing tale through adequate spectacle, the return of 101 Dalmatians may have some viewers wagging their tail in excitement, but more than a few will surely find that some of its standards do not fit the dog-eats-dog energy of the London scene. There’s no need for mutt-iny, though — as a family plan, it can be a fun and even special night for the youngest and grownups alike. Yet, it doesn’t live to its full paw-tential. It’s pleasurable, but not fur-midable.

101 Dalmatians plays at London’s Eventim Apollo until 30 August. Tickets are available on the following link.

By Guillermo Nazara