Review of ‘Dog Mum’: “Audiences are sold a pup in all-barking-and-no-biting play”

We often hear that we don’t deserve dogs. Whether dogs deserve this play is debatable. And that’s a very kind way to put it. I wouldn’t say this show is appallingly bad (though that might be my brain’s coping mechanism after all I’ve been reviewing lately), but I’m sure, whether you’re a dog lover or not, you’ll agree these beautiful animals deserve better.

The script doesn’t come from a place of pretentiousness, and that’s what makes it forgivable — to an extent. Sarita is in her 50s and trying to start a new life after her calamitous marriage is over. Right after moving back to the city, she comes across a stray dog and reluctantly decides to foster. They will soon share a connection, and life as she knew it will be changed forever.

The premise screams cliché from start to finish, and that’s exactly what the story offers. It doesn’t intend to be anything but a light comedy. And light it is, particularly in terms of plot thinness. A lot happens but not in a meaningful way. Despite its many attempts to pull at the heartstrings, especially when the protagonist faces the inevitable consequences of adopting an old pet, there’s hardly any poignancy in it. While the canine-human bond is formed onstage, the one with the audience never materialises.

Its shallowness is what ultimately seals the play’s fate. Sarita has been through a lot, leading to her defensive, unapproachable attitude. We’re offered a few flashes of her background, but none of them is striking. In the end, much of the character building seems like a hasty checklist: as long as it’s mentioned, it should be enough. Suffice it to say that isn’t how it works.

The characters’ lack of individuality makes the whole thing predictable, artificial, and above all, dysfunctional. Some sections are endearing, but one’s soft spot for animals should take the credit — not the dramaturgy. Sarita goes through a transformational arc, evolving from a closed-off person to someone willing to feel and love again, but its execution is sketchy, superficial, and widely ineffective.

The humour isn’t great either. Not every comedy needs to be super subtle, but jokes and dialogue that aren’t too on the snout are appreciated — and necessary. Most bits involving dog behaviour are amusing, but the rest sounds too formulaic and rarely lands. All in all, it’s like watching a Disney Channel original by Temu: decaffeination over the decaffeination.

The cast is fairly competent, especially Patty Gallagher and Tom Barnes, whose anthropomorphic portrayals of the show’s four-legged heroes are cheerfully energetic and create a convincing illusion without the aid of costumes or any further additions. At the same time, Joanna Holden shines as the upbeat, somewhat acid neighbour and new friend Nell.

However, half the piece’s weight lies on Vinita Belani’s lead performance, and she can’t even support a quarter of it. Her rendition is excruciatingly flat and barely professional. It has no layering, heart, or truthfulness. Her rendition is reduced to reciting lines, which she does with no flair or compelling emotion.

The set design is acceptable, but its realisation is confusing and misguided. A painted backdrop hides a set of screens that switch on and off to depict different locations, creating an unsettling moiré effect that makes their use completely pointless and a total waste of resources.

It wasn’t the most promising concept, but it still had a few pawssibilites. Sadly, none of them was fulfilled, and the show doesn’t even pass by a whisker. Eventually, this far-from-golden show just retrieves old ideas without adding any creative input, making its easy comedy much duller than it needs to be. There are hardly any treats in it, and for the most part, watching it feels like barking at the moon.

Dog Mum plays at London’s Southwark Playhouse Borough until 7 November. Tickets are available on the following link.

By Guillermo Nazara