If you are not a parent of a primary school-aged child, you might be unfamiliar with “Dog Man,” a popular series of graphic novels by Dav Pilkey. The story follows a cop who, after suffering a severe injury, has the head of his dog attached to his body, resulting in a unique crime-fighting hybrid of canine and human. However, for those who have embraced this cultural sensation—having sold over 70 million copies since its debut a decade ago—it’s clear that Dog Man is a significant force, as evidenced by its adaptations including a film, video game, board game, and now a musical, which has made its way to the UK following a successful off-Broadway run.
The Dog Man novels are known for their chaotic humor and emotional depth, but the musical, crafted by writer and lyricist Kevin Del Aguila and composer Brad Alexander, primarily focuses on the comedic elements. The show features slapstick humor and playful jokes, such as Dog Man responding to inquiries about his day with a cheerful “Ruff!” While the content is aimed at younger audiences, there are also references to Charles Dickens that may confuse some viewers.
The storyline draws from several early entries in the 14-book Dog Man series and presents a meta-theatrical twist: George and Harold, the fictional creators of the Dog Man comics, decide to stage a musical to demonstrate its simplicity to their teacher. Utilizing items from their supplies, the set designed by Timothy R Mackabee has a charmingly improvised feel, with skyscrapers crafted from cardboard and gaffer tape, and characters transforming between soft toys, glove puppets, and live performers.
In this production, our canine hero (Renan Teodoro) faces off against the cunning feline villain Petey (Sam Kipling) and Flippy (Vanessa Dumatey), a psychokinetic butterflyfish who has acquired superpowers through consuming “brain dust.” The plot thickens when Petey attempts to clone himself, anticipating a devious duplicate, but instead creates Li’l Petey (Rebecca-Jo Roberts), an adorably naive child who insists on calling Petey “papa,” leading to humorous exclamations of “I’m NOT your papa!!”
Li’l Petey serves as the emotional heart of the narrative, resonating with parents who can relate to the challenges of having an unpredictable “mini-me.” However, as the lively cast energetically moves through song and dance, these poignant moments can sometimes be overshadowed, a result of the direction and choreography by Jen Wineman. Additionally, there is a slight disconnect in the portrayal of these beloved characters—would children not have been more thrilled to see Pilkey’s charming designs brought to life with large, furry heads instead of, for instance, an orange beanie?
Adapting a graphic novel into a musical format naturally presents challenges. At one point, the hyperactive George and Harold, portrayed by Ricardo Mendes and Peter Lavery, bring a board onto the stage to mimic the “animated” flip-o-ramas featured in the comics, humorously lamenting, “This isn’t working the way it does in the comics!” While this serves as a clever joke, it also highlights the complexities involved in translating the source material into a live musical.
The production is currently being staged at the Southbank Centre in London until August 16, and will continue its tour until June 13, 2027.
