Seattle Children’s Theatre presents “Dog Man: The Musical” adapted from the “Dog Man” series of books by Dav Pilkey. Currently running through October 22 with more performance dates added, this production is a marvel to behold, appeasing young and old audiences with its outlandish story, infectious enthusiasm, and a heavy heaping of heart.
“Who’s a Good Cop?”
Where to begin with such a charming stage production? For one, my daughter and I were unfamiliar with the “Dog Man” series of books and walked into this production virtually cold. Even so, the musical requires no previous knowledge of the source material to enjoy its ridiculously fun plot and whimsical storytelling fully. No jokes or parts felt exclusive to those familiar with the series, though I’m sure having that expertise would allow punchlines to hit harder. Anyone can enjoy its raucous good time, and we certainly did.
Minutes in, my daughter and I were hooked by the hilarious story about a policeman and his police dog who, after a terrible accident, were sewn together to survive. (Fear not. Though it sounds morbid and utterly tragic, the story of the unlikely superhero is told with plenty of giggles, completely underplaying the irksome reality of the medical horror.) The product of this Frankenstein operation is Dog Man, who has a dog head and a human body.
Dog Man can’t speak human words, but actor Brandon James Butorovich doesn’t need them. His performance is notable because he garnered some of the most laughs and cheers from the audience thanks to his unnervingly perfect physical comedy. He “ruffs” and “roos,” leaping over props, pretend-peeing on things and being an insanely convincing Dog Man. As one of the musical numbers contends, “Whose a good cop? Whose a good cop?” Dog Man may not be a technically adequate cop, but he’s the heart of the production and does an excellent job of winning the audience’s affection.
A musical delight
This was the first production with musical numbers that I’ve taken my five-year-old to see at SCT. She was thoroughly engaged the entire time and concerned that the end of every song meant the production was over. She simply did not want the fun to end. The songs are lively and funny, particularly for the adult audience members who catch on to the slight allusions here and there that make this adaptation so smart.
Kevin Del Aguila, who created the book and lyrics, should be commended for handily straddling the line between engaging young viewers and appealing to parents. There are a few wink-wink nods to classic literature and other musicals. Though the plot is utterly ridiculous, it works. Dog Man is the police department’s hope for stopping Flippy the cyborg fish and his troop of Beasty Buildings. There is also Petey, the feline evil mastermind who has cloned himself, though Li’l Petey isn’t the maniacal villain the elder hoped to create.
Sadie Jayne Kennedy, who stars at Li’l Petey, is spectacular in the role, and her voice modulation is a true talent. It was nearly impossible to discern her voice from that of an actual child, even through the many musical numbers she had to perform. Overall, “Dog Man” benefits from a talented cast who act, dance and sing in a nonstop, action-packed, hour-long production.
Art direction
There is not an inch of the stage or a single prop that is not used to its maximum capabilities or doesn’t have a dual purpose. The zombie high-rises turn from painted cardboard to human costumes in seconds. It doesn’t matter that the operating table upon which Dog Man comes to fruition is simply a table with a white sheet, converted seconds before from a treehouse office space or a police station desk. It’s easy to use our imagination to help convert Petey’s cloning machine – a large, decorated shipping box – into a sophisticated contraption capable of cloning.
Though much happens in the short runtime, with the story twisting and turning in no direction that makes total sense, the aforementioned performances are so convincing that it doesn’t matter. As the musical progressed, scenes melted together in a whir of song and dance. Every child in the auditorium was at the edge of his or her seat, eagerly waiting to see what Dog Man and crew would do next.
Recommended age
Apart from a couple of disco dance sequences, the production does not feature bright, flashing lights, loud noises or otherwise “scary” elements that could frighten young viewers. Even when performed by the villains, the musical numbers are lighthearted and upbeat. The characters are in constant motion around the stage, which certainly kept the rapt attention of my five-year-old.
Kids over five are likelier to understand and enjoy the musical, though younger attendees with solid attention spans would fare well. At a lean runtime of just 64 minutes without an intermission, younger viewers can make it through most, if not all, of the production.
Know before you go:
- Purchase tickets here. Many shows are already sold out.
- The show runs through October 22, with various showtimes spanning the morning and evening.
- Runtime is approximately 64 minutes without an intermission.
- The ASL Interpreted Performance is on Saturday, October 21, at 1:30 p.m.
- The Sensory Friendly/Relaxed Performance is on Sunday, October 22 at 11:00 a.m.
- Seattle Children’s Theatre is located at 201 Thomas Street, Seattle 98109
- Garage and street parking are available with payment. Give yourself ample time if there is an event at Climate Pledge Arena.
- Masks are strongly encouraged but optional.
- Seattle Children’s Theatre is running at full capacity.
*Note: Photos by Jeremy Daniel of 2019 off-Broadway cast. Featuring: Brian Owen, L.R. Davidson, Dan Rosales, Jamie LaVerdiere, Crystal Sha’nae, Forest VanDyke.
