REVIEW: Behind Closed Doors at South Shields Customs House

Behind Closed Doors

South Shields Customs House

Saturday 1 August 2026

A two-handed play about the other side of romance appeared in South Shields this weekend. Before heading out to the Fringe Festivals, the South Shields audience were given a chance to see some powerful new writing. 

Of course within a show that is only one hour long there is a need to set up the story quickly and this is done through a pair of effective monologues. The writer of the show, Corey Muizelaar, appears as Jude - a young man who thinks he is in search of love and a deeper relationship. Ben Robert Cunningham is the more confident Charlie who meets up with Jode and initially wants nothing more than a quick no-strings-attached shag in the car. 

What is clever is that, rather than drowning the audience in tons of dialogue showing the progression of the relationship after the quick exchange of texts, we are exposed to the sort of relationship montage that one associates with rom-com type movies. The domesticity of life is performed to music and quickly the couple are settled in.

Thus we have the microcosm of a young relationship. The lack of self awareness of young men. Insecurity and need for love and acceptance.  It's painful. Feeling trapped in a relationship where you don't know if you are loved passionately or hated so intensely, they feel the need to hurt you. 

Two young men caught in a claustrophobic tangle with all the nonsensical melodramatic gaslighting that happens when two people fail to step back and look at the situation, allowing it to become toxic. 

This was a tough watch. Emotionally one feels for both the men while seeing their flaws. Be warned, there are sexual scenes, domestic violence, drug taking and suicide themes. As a member of the audience you are pulled through the wringer as the relationship falters. You hope that a third party would appear and give support to both of them - though it is suggested that Jude is going through counselling, you wonder if there is enough support about the complexities of the situation. One imagines the sessions are brief and unlikely to dig deeper into the issues.   

The piece was written as part of the writer's therapy. We too, as members of the audience,  became part of the therapy. 

Emotional. Raw and unflinching look at the consequences of young, unready,  love. There has been no attempt to soften the blows and the result lingers in your memory. Even though we only see a handful of episodes in the life of this couple the emotional journey has a lasting effect. Whilst this show is centred around a gay relationship, the themes are broader and apply to other types of relationships - having said that, perhaps there is not enough exposure of abuse within this very type of relationship. Powerful theatre like this deserves an audience.

Review: Stephen & Joanne Oliver

Future performance dates

8th - 9th August 2026, 8.00pm

The Old Red Lion, Camden

12–30 August 2026, 3.15pm

Edinburgh Festival Fringe, Venue 41

15th September 2026, 7:30pm

Guildford Fringe Festival, The Back Room of the Star Inn

Content guidance

The production contains themes of domestic violence, drug use, scenes of a

sexual nature, addiction, emotional abuse, coercive control, self-harm and

suicide.

News: Live Theatre's Live Tales Turns Ten — Celebrations Kick Off With Free Family Festival

 Live Theatre's Live Tales Turns Ten — Celebrations Kick Off With Free Family Festival

Live Theatre's much-loved children's story and playwriting programme, Live Tales, has reached a major milestone this year — its 10th birthday. To mark the occasion, the Quayside theatre is throwing open the doors to its Live Garden for a brand-new event, Summery Tales, on Saturday 1 August from 11am to 3pm, and the whole family is invited.

It's a free event, and there's genuinely something for everyone. Expect live music, face painting and illustration, story writing workshops, pop-up stalls, craft stations, and a food stall and bar to keep grown-ups fuelled while the kids get creative.

The workshop programme, supported by Space Architects, is where the real magic happens, though places do need to be booked in advance. Things kick off at 11am with Art-K Watercolour Creatures, a watercolour workshop delivered by art-K Jesmond and inspired by the magic of storytelling, which repeats across the day at 11.50am, 12.40pm and 1.30pm.

At 11.45am and again at 1.30pm, Story Time With Arti sees author Danielle Slade lead an interactive storytelling adventure inspired by her book TWINKLE TWINKLE Arti. Using what's billed as a magical storytelling suitcase, Danielle brings the story to life before children move into a star-themed craft activity of their own.

Story Inventors follows at 12.15pm, a playful session using costumes, props and puppets to collaboratively dream up a brand-new story from scratch. And the day rounds off at 2pm with Live Illustrating, an interactive drawing workshop led by a team of Live Tales illustrators, where new characters and whole worlds get invented on the page.

It all speaks to what Live Tales has quietly built over the past decade. Over ten years, the programme's facilitators have worked with thousands of schoolchildren, giving them space to explore original thinking, discover their own voice and build confidence through storytelling.

Becky Morris, Senior Creative Associate at Live Theatre, said the Family Festival marks a new chapter for the programme: "We're thrilled to be hosting our very first Family Festival! This special event celebrates 10 years of our free creative writing programme, Live Tales. As we mark this exciting milestone, we're not only continuing our much-loved schools programme but also expanding our focus to welcome more families into the world of Live Tales. Our Family Festival is the first step in bringing Live Tales to an even wider audience, kicking off what we hope will be another incredible decade of creativity and storytelling. If the first 10 years are anything to go by, who knows what we'll be celebrating when we reach 20!"

Summery Tales is only the beginning of Live Theatre's year-long celebration of Live Tales turning ten. Families can look forward to Spooky Tales this autumn, running Wednesday 28 to Friday 30 October — a spine-tingling story making adventure promising laughs, gasps and a sprinkling of magic. The celebrations then culminate at Christmas with Where Do All The Kittiwakes Go At Christmas?, running from Saturday 19 to Thursday 31 December. Supported by the Gillian Dickinson Trust, this alternative festive show combines music, interaction and bold storytelling for what sounds like a properly joyful family outing.

To find out more about Summery Tales and to book a place on the workshops, head to www.live.org.uk.

REVIEW: The Bodyguard at Newcastle Theatre Royal

The Bodyguard

Newcastle Theatre Royal

Until Saturday 1 August 2026

Theatre Royal pubicity
Photo: Stephen Oliver

The Bodyguard has arrived in Newcastle this week, and it brings with it exactly what you'd hope for from a night built around the Whitney Houston songbook: big vocals, big lighting and a crowd who came ready to be won over.

Mireia Mambo as Rachel Marron 
Photo: Paul Coltas

Written by Alexander Dinelaris and based on the 1992 film of the same name, the show is built around Whitney Houston's recorded hits, with Greatest Love of All, I Wanna Dance With Somebody and, of course, I Will Always Love You all present and correct. This touring production stars Adam Garcia as bodyguard Frank Farmer, Matt Milburn as publicist Sy Spector, and, at our performance, Mireia Mambo stepping up from the ensemble to play superstar Rachel Marron.

Adam Garcia as Frank Farmer
Photo: Paul Coltas

The story is familiar territory for anyone who lived through the original film: former secret service agent Frank Farmer is hired to protect Rachel Marron from an unknown stalker, and neither of them is used to not getting their own way. That friction, between Frank's need to control every exit and entrance and Rachel's need to actually have a life and a career in front of the public, is where the show gets its early tension from. How do you protect someone whose job is to be seen?

Sasha Monique as Nicky Marron. 
Photo: Paul Coltas

Where the 1992 film belongs firmly to the pre-internet age, this stage version has been quietly updated to acknowledge social media and the way fame works now, which stops it feeling like a museum piece even as it leans hard into 90s nostalgia. And it is worth pausing on that: it's genuinely startling to realise it's 34 years since the film came out. The plot itself is not going to surprise anyone who got through a reasonable number of 90s thrillers - it's fairly predictable stuff - but the quality of the singing and dancing does a lot of heavy lifting, and lifts the show well above the material on the page.

Mireia Mambo as Rachel Marron 
Photo: Paul Coltas

As a jukebox musical built around a fictional pop star, the show has licence to include Whitney Houston numbers that don't strictly serve the plot but are performed simply as Rachel Marron's own concert numbers, and it uses that licence freely. It works, mostly because the concert sequences are staged as proper arena-style spectacle: flames, lighting rigs and sharp, confident choreography from the off. The dance company is smaller than you might expect, but that turns out to be a strength rather than a limitation - less is more when it comes to filling a stage, and it's a lesson some amateur productions could usefully take on board. A neat trick with a front curtain doubling as a screen keeps the energy going during set changes too, adding to the X-Factor-style showbiz gloss the production is clearly going for.

Photo: Paul Coltas

On the performances, Mireia Mambo more than justified her step up from the ensemble to play Rachel Marron on the night we attended. She has a genuinely impressive voice and real star quality, and made a strong case for herself with the show-stopping cover of Dolly Parton's I Will Always Love You - another reminder that understudies and alternates on this circuit are often performing at the very top of their game. Sasha Monique gave excellent support as sister Nicki, singing with real soul and passion. Phoenix Beharry, appearing as Fletcher at our performance, looks very much like a star in the making. And James-Lee Harris, playing the Stalker without a single line, brought a real sense of menace and gravity to every appearance - the production's jump scare moment landed exactly as intended, judging by the audience's reaction.

Matt Milburn as Sy Spector.
Photo: Paul Coltas

The pace throughout is well judged, with the direction knowing when to push forward and when to ease off. At just over two hours including the interval, the running time feels about right for the material.

Photo: Paul Coltas

Special mention too for the live orchestra, under Musical Director Charlie Ingles, who gave the whole evening real energy and drive. And full marks to Monday night's Newcastle crowd, who resisted the temptation to sing along - a small mercy, given that the show itself pokes gentle fun at exactly that impulse in its karaoke bar scene. There's a reason people pay to hear the professionals rather than their neighbour giving it their all after a few drinks.

Photo: Paul Coltas

The whole company reunited for a final encore of I Wanna Dance With Somebody, sending the audience out on a high and offering a timely reminder of just how strong Whitney Houston's back catalogue really is.

Review: Stephen Oliver

Photos: Paul Coltas

Tickets:

https://www.theatreroyal.co.uk/whats-on/the-bodyguard-2/

 

Preview: Rapunzel – A Tangled Tale at Playhouse Whitley Bay

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West End talent joins local youngsters as Rapunzel arrives at Whitley Bay Playhouse

A summer family production combining professional stage and screen performers with dozens of young local talent is set to bring "Rapunzel – A Tangled Tale" to Whitley Bay Playhouse this July.

The show will run for four performances over two days, Wednesday 29th and Thursday 30th July, with matinee and evening shows at 2pm and 6pm each day. Billed as an action-packed family adventure, the production combines comedy, musical numbers, costumes and audience participation aimed at children and families during the school summer holidays.

Alongside the professional company, the production features 28 local young performers, split across two teams, who will share the Playhouse stage with the cast throughout the run.

Taking the title role is Rebecca Lightburn, a Performers College graduate whose career spans West End and UK stage work, arena productions, television and commercials. Her theatre credits include title roles in Alice in Wonderland, Cinderella, Snow White and The Little Mermaid, alongside arena work in productions of Grease, Mamma Mia and Dirty Dancing. Her screen credits include work for ITV and Sky Sports, as well as animated series Bing and Flop.

The production is produced, written and directed by Reece Sibbald, who returns to Whitley Bay and also takes on the role of Pascal the chameleon. Sibbald has appeared in 36 professional pantomimes across the UK, including productions at Newcastle Theatre Royal, and has performed as the Scarecrow in The Wizard of Oz more than 750 times. Through his company, Reece Sibbald Productions Ltd, he has staged family productions seen by large audiences nationally and created performance opportunities for local young people.

Playhouse regular Ryan Hill takes on the role of Flynn. Hill has previously appeared in Whitley Bay productions as The Beast, Prince Jasper and King Triton, and his wider career includes touring with Scooby Doo Live, appearances alongside television presenters Stephen Mulhern and Mister Maker, and roles in touring and tribute productions.

Charlie Hill plays Mother Gothel. Her credits include UK tours, performances with CBeebies and CBBC, and warm-up work for pop group Steps; she recently played the Wicked Queen in Snow White at The Roxy Theatre, Consett.

Comic relief comes from Phil Dixon as King Combover, alongside a number of other roles in the production. A performer for four decades, Dixon is also Assistant Head of Curriculum for Performing Arts at Newcastle College Performance Academy.

The production follows a run at The Roxy Theatre in Leadgate over Easter, which producers say became that venue's highest-selling Easter family show to date.

Commenting on the production, producer and writer Reece Sibbald said the show is "fast-paced, funny, packed with music and full of surprises from start to finish," and pointed to the cast's combined experience across the West End, national tours, television and arenas alongside North East performers. He added that creating performance opportunities for young people is something the company is particularly passionate about, describing the involvement of the 28 local children as something that makes the production "even more special."

Tickets

Rapunzel – A Tangled Tale plays at Playhouse Whitley Bay on Wednesday 29th and Thursday 30th July, with performances at 2pm and 6pm. Tickets are available from the Playhouse Box Office or online at https://axs-uk.sjv.io/bkyqob

Ticket Link

PREVIEW: The Brown Suite at Darlington Hippodrome

STEP INTO THE SUITE AT DARLINGTON HIPPODROME

The Brown Suite, 

Darlington Hippodrome

Tuesday 10 November 2026

Darlington Hippodrome is set to get the whole house moving this November, as The Brown Suite rolls into town on the first leg of its UK tour.

BlacBrik founders and choreographers of The Brown Suite Nahum McLean and Darius Drooh said: “With The Brown Suite, we want to explore the spaces where music, movement and community came together in 1970s New York—where soul and funk brought people together, and where every gathering held stories of joy, connection and change.

“As the story unfolds, we explore the relationships that shape a community, the moments that bring people closer, and the tensions that can shift those connections. We’re so excited to tour this work across the UK and share its warmth, energy and drama with audiences. More than anything, we want people to feel the music in their bodies and maybe even dance their way home.”

Created by dance duo BlacBrik, Nahum McLean and Darius Drooh, who met training at the Alvin Ailey School in New York back in 2013 before forming the company a decade later, the show is a high-energy tribute to the music of James Brown, Etta James and Sam Cooke. It's produced by Fundamentally Dance, the team behind the acclaimed Ballet Nights, with Jamiel Devernay-Laurence as creative producer.

Seven dancers carry the piece, which blends the precision of ballet and modern dance with the swagger and groove of funk and jazz. Full-company numbers give way to intimate duets as the story tracks a community through flirtation, romance, heartbreak and reconciliation, all set against the backdrop of 1970s New York nightlife.

Alongside the tour, the team has worked with Wolverhampton Grand Theatre's Creative Engagement Manager Tristan Jones-Smith on an education pack for schools, linking the show to Drama, Dance and English curricula through devising, performance and creative writing exercises.

The Brown Suite kicks off its 12-venue UK tour with a London premiere at Richmond Theatre before arriving in Darlington.

Tickets: www.darlingtonhippodrome.co.uk Box Office: 01325 405405

Preview: Live Theatre Gives North East Audiences First Look at Edinburgh Fringe Shows

 

Live Theatre Gives North East Audiences First Look at Edinburgh Fringe Shows

Newcastle Live Theatre

Tuesday 28 July - Saturday 1 August 2026

North East audiences have the opportunity to experience some of the most exciting new work heading to this year's Edinburgh Festival Fringe when Live Theatre, Newcastle hosts a packed programme of Edinburgh Fringe Preview performances from Tuesday 28 July to Saturday 1 August.

Bringing together comedians, theatre-makers, musicians, drag performers and emerging companies from across the UK alongside familiar North East names, the series offers theatre-goers the chance to catch brand-new productions before they make the journey north to the world's largest arts festival.

The hand-picked programme has been selected through an open call for artists taking work to Edinburgh and showcases a diverse mix of established talent and rising stars.

The previews begin on Tuesday 28 July with Kate Hammer: Government Approved Comedian. Canadian comedian Kate Hammer shares stories of securing a Global Talent Visa through comedy while navigating modern life, from online marketplaces to frustrating technology, in a witty hour of stand-up.

Later that evening, Edinburgh University Theatre Company presents Last Orders, an all-female production set in an unnamed American town during the 1980s. Combining comedy and theatrical flair, the cast tackle themes of friendship and identity while sporting impressive facial hair and impressive pint-drinking skills.

Wednesday's programme opens with award-winning drag performer Fanny Bleach and The Nearly Naked Show, drawing on more than a decade of experience across cabaret, performance art, drag and comedy to create an evening of larger-than-life characters and inventive performance.

The late show features Freya Parker with An Hour Of Decay. The Edinburgh Comedy Award nominee and Smoggie Queens performer explores ageing, artificial intelligence and second-hand shopping with her distinctive Northern humour.

North East audiences will recognise Scott Turnbull when he returns to Live Theatre on Thursday 30 July with Surreally Good. Fresh from joining the cast of Our Friends In The North, the award-winning performer combines live illustration with his trademark surreal comedy to blur the boundaries between the sacred and the absurd.

The evening continues with Grace Mulvey's Gigantica, a heartfelt and humorous show exploring family, identity and self-image, inspired by one deceptively simple question: is it a compliment to be told you look like your dad?

Friday's line-up includes Ayo Adenekan's Homeland Insecurity, blending sharp observations, storytelling and comedy as the BBC New Comedy Award finalist examines ambition, romance and chasing dreams.

The second performance on Friday sees North East performer Tessa Parr, recently seen in Astell & Woolf, present I AM JOHNNY. The politically charged solo show combines dark humour with an exploration of masculinity, power and ownership of the female body.

Music takes centre stage on Saturday 1 August as multi-instrumentalist Tom Oakes performs Forge, an ambitious new work combining traditional music, live composition, improvisation, archive recordings and new writing by Kolbrún Björt Sigfúsdóttir.

Closing the Fringe Preview season is Metroland Live: As Seen On TV, described as a celebration of television's shared cultural history through absurd sketches, character comedy and unmistakable Geordie humour. Recently highlighted by Rolling Stone UK as one of its Fringe recommendations, the show promises an energetic finale to the week.

Speaking about the programme, JD Stewart, Live Theatre's New Work Producer, said:

"We are excited to welcome a host of talented artists from around the UK to Live Theatre to preview their work for this year's Fringe Festival. We hope that audiences enjoy the selection – a mix of theatre, music and stand-up, and that this format of previewing is something which will continue in the future before the world's largest theatre festival."

With two performances taking place each day, audiences can also take advantage of a discounted ticket offer when booking both shows on the same date, making it an ideal opportunity to sample a variety of Fringe-bound work before it heads to Edinburgh.

Edinburgh Fringe Preview Programme

Tuesday 28 July

• 7pm – Kate Hammer: Government Approved Comedian
• 9pm – Edinburgh University Theatre Company – Last Orders

Wednesday 29 July

• 7pm – Fanny Bleach – The Nearly Naked Show
• 9pm – Freya Parker – An Hour Of Decay

Thursday 30 July

• 7pm – Scott Turnbull – Surreally Good
• 9pm – Grace Mulvey – Gigantica

Friday 31 July

• 7pm – Ayo Adenekan – Homeland Insecurity
• 9pm – Tessa Parr – I AM JOHNNY

Saturday 1 August

• 4pm – Tom Oakes – Forge
• 7pm – Metroland Live: As Seen On TV

For North East theatre fans, it's a rare opportunity to discover tomorrow's Fringe favourites before they reach Edinburgh, while supporting artists as they prepare for one of the busiest and most prestigious festivals in the performing arts calendar.

Tickets:

With two shows per day, you can see more and save with a special discount offer for those booking both performances on the same day. Find out more and book at www.live.org.uk or call box office on (0191) 232 1232.

Auditions: Arts North Studios based in Sunderland

 The search is on for Sunderland's next stage stars

Young performers from across the North East are being invited to audition for two major musical productions, as one of the region's leading performing arts colleges expands its training programme.

previous production

Arts North Studios, based in Sunderland, has launched a casting call for High School Musical and Finding Nemo The Musical, with auditions taking place at The Fire Station on Saturday 12 September.

The productions form part of a wider expansion for the college, which is launching a new Saturday academy in September to sit alongside its Sunday academy, already running at full capacity. The move will create further opportunities for young people to train in singing, dancing and acting alongside industry professionals.

previous production

Those cast in the shows will rehearse as part of their weekly Weekend Academy classes in the run-up to each performance. Finding Nemo The Musical is scheduled for the Easter holidays on 3 and 4 April 2027, followed by High School Musical on 26 and 27 July 2027.

Auditions are open to performers of all ages, and junior members will also take part in a Christmas concert at The Fire Station in December. Organisers say anyone with an interest in musical theatre, singing, dancing or acting is welcome to apply.

Annie Guy, Principal of Arts North Studios, said the response to the college's existing Sunday academy had encouraged the expansion. "There is so much talent in the North East, and these auditions are about giving young performers and those with a passion for musical theatre the opportunity to develop, perform and push themselves in a professional environment," she said. "Whether you're taking your very first step onto the stage or already dreaming of the West End, we want to hear from you."

Arts North Studios has built a reputation as one of the region's leading training grounds for young performers, offering professional-level tuition in singing, acting and dance with a focus on confidence, creativity and personal development.

previous production

The college also has a busy summer ahead, running its ArtsEd x Arts North Studios Musical Theatre Summer School, which gives aspiring performers the chance to train alongside tutors from Arts Educational Schools London, one of the UK's leading drama schools. Alongside this, a Musical Theatre Summer Camp will offer performers aged three and up a five-day course developing their singing, dancing and acting skills, culminating in a live performance at The Fire Station for family and friends.

Guy added that with the new auditions, the academy expansion and a packed summer schedule, Arts North Studios was heading into one of its busiest seasons yet as it continues its work nurturing the next generation of performers.

To register for auditions, contact academy@artsnorthstudios.com.

Preview: Dirty Dancing – The Classic Story at Sunderland Empire

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 DIRTY DANCING RETURNS TO SUNDERLAND EMPIRE THIS SEPTEMBER

The nation's favourite dance floor romance is heading back to the North East, as Dirty Dancing – The Classic Story on Stage visits Sunderland Empire from Tuesday 22 to Saturday 26 September 2026.

Charlie Varlet (Baby), Joel Benjamin (Johnny), Ellie Fergusson (Penny) 
Photo: Paul Madeley 

Inspired by the beloved 1987 film, the show tells the story of Baby Houseman and dance instructor Johnny Castle, whose worlds collide over one unforgettable summer. Expect all the romance, rebellion and raw chemistry that made the original a classic, plus that unmistakable soundtrack, including "Hungry Eyes," "Hey! Baby," "Do You Love Me?" and the show-stopping "(I've Had) The Time of My Life."

Leading the cast as Johnny Castle is Joel Benjamin, recently seen in Disney's Hercules the Musical in the West End, with previous stints in Dirty Dancing itself (Dominion Theatre, UK tour and Paris), Chicago the Musical and Mamma Mia. Making her theatre touring debut in the iconic role of Baby is Charlie Varlet, whose screen credits include Sense and Sensibility. Rounding out the leads is Ellie Fergusson as Penny Johnson — familiar to TV audiences as the winner of the first series of The Greatest Dancer and a Strictly Come Dancing alum.

Charlie Varlet (Baby) 
Photo: Paul Madeley 

The production is directed once again by Federico Bellone, with choreography by Austin Wilks, and is produced by Karl Sydow in association with Lionsgate Films and Magic Hour Productions. Screenwriter Eleanor Bergstein, who penned the original film, has written the stage adaptation, preserving the dialogue fans know by heart.

Ellie Fergusson (Penny) 
Photo: Paul Madeley 

Joel Benjamin (Johnny) 
Photo: Paul Madeley 

Sunderland forms part of a UK and Ireland tour running through to summer 2027, following the show's record-breaking history at London's Aldwych Theatre, where it played to over two million people across a five-year run.

Tickets are on sale now via ATG Tickets' Sunderland box office site (a transaction fee may apply to online bookings). LINK

Interview: Dav Pilkey

"Let your imagination run wild": Dog Man creator Dav Pilkey on bringing his supa-popular hero to the North East stage

North East Theatre Guide speaks to bestselling author and illustrator Dav Pilkey ahead of Dog Man: The Musical's run at Darlington Hippodrome this September.

He's sold more than 70 million copies of his graphic novels worldwide, but Dav Pilkey still has one hard-and-fast rule for anyone who wants to watch him work: don't look. "I would not want anyone looking over my shoulder when I'm writing and illustrating my books," the American author admits. It's a habit of fierce creative privacy that makes it all the more striking that, when a team of theatre-makers set out to adapt his beloved canine superhero for the stage, Pilkey handed over the reins almost entirely. "I told the team to do what they wanted to do," he says, "and let their imagination run wild."

#ad Dav Pilkey books are available 
from our affiliate Waterstones: LINK

That leap of faith has paid off. Dog Man: The Musical is currently delighting audiences in London and is about to head out on a UK tour that brings it to Darlington Hippodrome from Friday 11 to Sunday 13 September. For Pilkey, the trust placed in director and choreographer Jen Wineman and the show's co-writers, Kevin Del Aguila and Brad Alexander, was never in doubt. "I trust the entire team," he says. "They are brilliant and have adapted Dog Man into a truly enjoyable stage experience for all ages. Everyone is in for a fantastic treat."

A hero born in the classroom

Dog Man may have become a publishing phenomenon since his debut in 2016, but the character's roots go back much further, to a seven-year-old Pilkey doodling at his desk. That early creativity wasn't always welcomed at school. "I was often sent out in the corridor by my teachers for being disruptive in class," he recalls. "At the time, my teachers did not have a lot of resources to manage kids like me who have dyslexia and ADHD. I remember being isolated from my classmates and often felt like a misfit. But I also remember focusing on what I love: making comics."

It was his parents, he says, who kept that spark alive, commissioning stories from him and championing his imagination even when the classroom couldn't. "Despite my challenges in school, they always encouraged my creative pursuits. Their support and love was life-changing and helped me to become the reader, writer, and illustrator that I am today."

That half-formed police-dog hybrid eventually found his way into the Captain Underpants universe, then a film, then his own spin-off series starring sidekick Cat Kid. Now, drawing on four of the books — Dog Man, Dog Man Unleashed, Dog Man: A Tale of Two Kitties and Dog Man: Lord of the Fleas — the stage show weaves the stories into one adventure, framed as the creation of two mischievous fourth graders, Harold and George, who dream up a musical about their favourite comic invention after being kicked out of their own school show.

A silent hero, by design

Pilkey may have stepped back from the show's creative decisions, but there was one condition he held firm on: Dog Man himself never speaks or sings on stage. "It's part of how George and Harold think as fourth graders," he explains. The same goes for 80-HD, the robot sidekick whose name riffs on ADHD. "I wanted to emphasise using creativity to communicate in other ways besides speech," Pilkey says, pointing to drawing and dance as alternatives.

It's a theme that runs through everything Pilkey makes: that imagination and humour matter, especially for children who don't always fit the mould. "For children, humour is an essential tool for cognitive and social development and critical thinking skills," he says. "It reduces stress and anxiety by releasing endorphins and provides comfort during tough times. I think it helps all of us develop resilience and a positive outlook." Asked for a favourite line from the show, he points to one that captures the spirit of the whole project: "gotta shine like it's your finest hour, and let your 80-HD power show!"

Why theatre, why now

Pilkey's own love of theatre dates back to almost the same period as Dog Man's invention, when he saw a school production of You're a Good Man, Charlie Brown. "I remember immediately after the show, I wanted to read all the books," he says. "I wanted to know more about the characters." He's since watched the off-Broadway run of Dog Man: The Musical in New York multiple times, and describes seeing his characters on stage as "an incredible feeling."

#ad Dav Pilkey books are available 
from our affiliate Waterstones: LINK

For Pilkey, live theatre carries a weight that feels especially timely. "I believe live theatre will become crucial in this era of AI," he says. "The direct human connection between the actors and the audience really leaves a lasting impression. It inspires creativity and stimulates the mind." It's the same feeling he hopes families walk away with after a night at Dog Man: The Musical: "I hope they will have as much fun watching the musical as I did. And I hope they are inspired to read books together and see more shows together."

As for whether he'd fancy an all-singing, all-dancing cameo in Harold and George's play-within-a-play? Pilkey isn't tempted. "I don't think you'd want me to!" he laughs.

His message to young audiences heading to the Hippodrome this September is much the same one that got him through the school corridor all those years ago: "I would encourage all kids to let their imaginations run wild, like George and Harold. Don't be afraid to make mistakes and keep practicing and be persistent."

Dog Man: The Musical runs at Darlington Hippodrome from Friday 11 to Sunday 13 September. For full details or to book, visit www.darlingtonhippodrome.co.uk or call the Box Office on 01325 405405.