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Dylan MarcAurele, bookwriter/lyricist/composer

Comedy, Biographical‎

The Passion of the Labradoodle

DADDY DOODLE is a dark musical comedy about Wally Conron, the trailblazing Australian guide dog trainer who created the world's first labradoodle. Bred to help a blind woman whose husband had terrible allergies, Sultan the service pup became an international sensation and challenged centuries-old prejudice against mixed breeds. However, the curly-haired canine also unknowingly sparked a phenomenon that would become Wally's waking nightmare: the epoch of "designer dogs". A musical about capitalism, playing God, and opening up Pandora's BarkBox, DADDY DOODLE is LITTLE SHOP OF HORRORS meets BEST IN SHOW.

CAST

Ideal Cast Size:

7

Cast Size Options (min to max):

7

-

32

Female:

3

Male:

3

Non-binary:

Any gender:

1

Notes on Casting:

The cast can be expanded to any number

Stage of Development:

Actively Writting

Seeking Further Development Support:

Table Read, Dramaturgy Support, Retreat, Staged Reading

Prior Developmental/Production History:

Next Steps:

I am only a few scenes and songs into writing, and I don't know exactly what the show *is* yet, but I know that once it's done, I'd benefit from hearing it out loud to see if it has legs; additionally, even before that, I might benefit from some dramaturgical support. The next step if those go smoothly would be to try something on its feet with a director since I imagine the piece being very light on set and heavy on blocking/choreographic storytelling.

External Links for Show Website or more info:

Listen to music tracks:

BIOS

Dylan MarcAurele.webp

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© 2026 by Theatre Now New York, Inc.

All Rights Reserved.

Land Acknowledgement

 

Our office is on the original homeland of the Munsee Lenape tribal nation. Theatre Now acknowledges the painful history of genocide and forced removal from this territory, and we honor and respect the many diverse Indigenous peoples still connected to this land on which we and our artists live and work.

 

As an organization and as artists, we often gather in virtual space. Take a moment to consider the legacies of colonization embedded within the technologies, structures, and ways of thinking we use every day. We are using equipment and high-speed internet not available to all communities. Even the technologies that are central to much of the art we make leave significant carbon footprints, contributing to changing climates that disproportionately affect indigenous peoples worldwide. Theatre Now invites you to join us in acknowledging all this as well as our shared responsibility: to make good of this time, and for each of us to consider our roles in reconciliation, decolonization, antiracism, and allyship.

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