Rachel York is the Alpha Dog of '101 Dalmatians'

The 101 Dalmatians Musical

Based on the book by Dodie Smith, Book by BT McNicholl, Music by Dennis DeYoung, Lyrics by Dennis DeYoung & BT McNicholl

Directed by Jerry Zaks, Choreography by Warren Carlyle, Musical Direction by Don York, Scenic Designer Heidi Ettinger, Costume Designer Robert Morgan, Lighting Designer Paul Gallo, Sound Designer Peter Hylenski, Dogs by Joel Slaven Professional Animals CAST: (in order of appearance) Prince, Chuck Ragsdale; Pongo, James Ludwig; Missus, Catia Ojeda; Mr. Dearly, Mike Masters; Mrs. Dearly, Kristen Beth Williams; Nanny Cook, Erin Maguire; Nanny Butler, Madeleine Doherty; Splendid Vet, Joseph Dellger; Cruella De Vil, Rachel York; Harry De Vil, Joel Blum; Jasper, Michael Thomas Holmes; Jinx, Robert Anthony Jones; Cruella's Cat, Emma Zaks; Lucky, Sammy Borla; Patch, Catherine Missal; Cadpig, Lydia Clemente; Roly-Poly, Piper Curda; Perdita, Julie Foldesi; also featuring Garett Hawe, Kevin C. Loomis, Kristy Cavanaugh, Anna Bowen, Chip Abbott, Jeff Scot Carey, Ah-Niyah Yonay Neal, Clark Kelley Oliver, Gabriel Rush, Kendra Tate, and 15 Dalmatians

Performances through December 27 at Citi Performing Arts Center Wang Theatre Box Office 1-866-348-9738 or www.citicenter.org

Birth Announcement: Dalmatian parents Pongo and Missus proudly announce the arrival of their eight pup litter to join the happy home they share with their "pets," Mr. and Mrs. Dearly, and Nanny Cook and Nanny Butler. What could possibly mar this idyllic good life in the tony Regent's Park neighborhood of London? Only one of the all-time great villainesses of page, stage, and screen, fur-fancier Cruella De Vil, who will stop at nothing to turn those spotted puppies into coats and gloves.

The 101 Dalmatians Musical North American tour is playing a limited engagement through December 27 at the Citi Performing Arts Center Wang Theatre in Boston, offering holiday entertainment for adults and children. Based on the original 1956 novel by Dodie Smith, the stage version is a departure from the beloved 1961 Walt Disney animated film and the more recent Glenn Close vehicle, but the bones of the story are familiar and recognizable. At its most basic level, it is a love story and homage to the power of families, human and canine alike, to overcome challenges by pulling together.

Following Smith's narrative, Bookwriter BT McNicholl presents a dogs-eye view of the world and Director Jerry Zaks portrays the humans as larger than life by parading the actors on 15-inch stilts, dressing them in Robert Morgan's enormous, strikingly stylish costumes, and situating them in Heidi Ettinger's colorful, oversized sets and furnishings. While everyone seems accustomed to the contraptions and there were no noticeable mishaps, the unnatural appendages pose limitations on movement and choreography. Much of the human dancing consists of swaying and simple steps, combined with elaborate arm and hand motions. The dog choreography tends to be more inventive, especially in the Reggae-inspired "Be a Little Bit Braver" and the Puppies' big number, "Break Out." The cast is filled with good vocalists who deliver the songs with great sincerity, but the tunes and lyrics are rather bland, albeit offered in a variety of musical styles.

The Disney adaptation was a favorite from my childhood and remains the pinnacle for me, but to experience Broadway leading lady and Drama Desk Award-winner Rachel York's over the top interpretation of Cruella De Vil is worth the price of admission. If ever there was a role that called for scenery chewing, this is it, and York takes full advantage. She sets the evil, nasty tone of her character while belting out her first number, "Hot," and really lets the fur fly in "Cruella Always Gets Her Way." She struts and mugs, manipulating her attractive face into a range of sneers, and generally takes command of the stage in an assortment of garish feathered hats and devilish red and black garb. Her half-black, half-white mane of hair adds to Cruella's fright factor, but her behavior is also highly laughable and York is an accomplished comedic actress. My only criticism about her is that she's not onstage enough.

However, this is the dogs' tale and the grownup dogs acquit themselves nicely. Prince (Chuck Ragsdale) serves as an affable narrator, even when he tells the audience to "Sit!" at the end of intermission while, in a moment of shameless marketing, he snacks from a big bag of Purina Dog Chow (Purina sponsors the tour). James Ludwig as Pongo and Catia Ojeda as Missus are sweet together, and Julie Foldesi as Perdita has the voice to sing the best dog song ("One True Love"), remembering her missing husband. Their mannerisms must define them as dogs because they are dressed in casuAl White clothing with big, brown spots. It's fun to see the costume choices that differentiate the other breeds of dogs, such as the shaggy wigs on a pair of Portuguese Water Dogs, a little keg around the neck of the St. Bernard, and lacy anklets and wristlets on the Poodles.

The children who play the puppies are energetic as a group, but not quite ready for prime time. Their dog counterparts, the real Dalmatians, are total crowd-pleasers in their limited stage time, and wow the audience in a musical finale just before the bows. Cruella's bumbling henchmen, the Baddun Brothers Jasper (Michael Thomas Holmes) and Jinx (Robert Anthony Jones) provide comic relief as a dimwit pair who shares a love of a reality television crime shoW. Arlington native Erin Maguire (Nanny Cook) stirs things up with York in "Hail to the Chef," and, with Madeleine Doherty (Nanny Butler), is half of a pair of servants with questionable proclivities. Mike Masters and Kristen Beth Williams impart genuineness to the caring Mr. and Mrs. Dearly, and the ensemble contributes strong performances.

If it is the mission of The 101 Dalmatians Musical to provide fun, family fare, it modestly succeeds, but it bogs down in striving to be all things to people of all ages. A handful of jokes for adult ears that went over the heads of children made me take notice, but little of that intelligence was sustained. Slower parts of the story and treacly songs failed to generate any childish excitement. On opening night, the audience was strangely subdued and it was difficult to gauge their response except for when the real dogs hightailed it across the stage. Theoretically, the show is still in development as it is only two months into the eight month tour that crisscrosses the country, so further revisions may be in order. There are definitely strengths to build upon, but my Christmas wish is for more of Rachel York's deliciously malevolent Cruella De Vil.

Photo by Joan Marcus: Rachel York as Cruella De Vil

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