Children's classics are leaping off the page and onto the stage in record numbers, but how do these beloved stories transform into theatrical magic? From the whimsical world of The Gruffalo to the hilarious antics of Dog Man, the challenge of adapting these tales is both thrilling and daunting. And this is the part most people miss: it's not just about copying the story—it's about capturing its soul.
Take Dog Man, for instance, the half-canine hero from Dav Pilkey’s bestselling graphic novels. This summer, he’ll make his London theatre debut in a musical at the Southbank Centre. Pilkey himself raved that the show “surpassed my highest expectations,” leaving audiences—including him—in awe. But here's where it gets controversial: how do you bring a character who can’t talk—yes, Dog Man only barks—to life on stage? Kevin Del Aguila, the Emmy-winning writer behind the adaptation, admits it was a terrifying challenge. “But we embraced it and got inventive,” he said. His secret weapon? A young expert—his fourth-grade son, who knew the books inside out.
Del Aguila, whose credits include stage versions of Diary of a Wimpy Kid and Click Clack Moo, believes it all boils down to tone. “If the show doesn’t feel like the books, the audience will revolt,” he explained. Kids, in particular, feel a deep ownership of the Dog Man universe because the books feel like a gleeful escape from adult supervision. That sense of “fun anarchy” was what the team aimed to capture. Pilkey’s only rule? Dog Man can’t talk. A terrifying constraint, but one that sparked creativity.
Now, let’s shift to My Neighbour Totoro, the 1988 Studio Ghibli fantasy adapted by Tom Morton-Smith for the RSC. After winning six Olivier Awards at the Barbican, it moved to the West End, proving that immersion is key. Morton-Smith didn’t just watch the film—he studied it, again and again. “It’s not about putting the film on stage,” he said. “It’s about finding the essence of what Miyazaki and Ghibli created and crafting something new with the tools of live theatre.” And this is the part most people miss: the human characters are the bridge to the magical world. If they feel too cartoonish, the forest spirits lose their impact.
But adapting these stories isn’t just about creativity—it’s a legal and financial minefield, especially for smaller companies. Siblings Jonathan and Lucy Kaufman, who adapted The Tales of Beatrix Potter, know this all too well. “We thought Beatrix Potter’s stories were in the public domain,” Lucy said. “They weren’t. Luckily, we found out in time.” Another challenge? Writing a climactic chase scene with 11 characters and only five actors. Talk about a logistical puzzle!
Adaptations now account for over half of UK theatre box office takings, with a recent report showing they made up 40.8% of performances in 2023, up from 35.6% in 2019. Why the surge? Familiar titles draw audiences, especially post-pandemic. But here's where it gets controversial: is this trend a creative crutch, or a necessary strategy to keep theatres alive? Jonathan Kaufman admits, “As a writer, I’d always prefer to create original plays. But well-known stories sell. My challenge is to transform them into something new, engaging, and relevant.”
So, what do you think? Are stage adaptations a celebration of beloved stories, or a shortcut to box office success? Let’s debate in the comments—and remember, no matter your stance, the magic of theatre lies in its ability to reimagine the familiar in extraordinary ways.
