You see it with movies all the time: A project has an acclaimed director, an experienced crew, and an all-star cast, but all the conflicting visions add up to a muddled mess.

Thankfully, that is not the case with SLAC's first production for children: It's the result of a dream team of artists who have perfected the process of amplifying one another's talents.

It's always been the job of director Jerry Rapier, choreographer Cynthia Fleming and musical director Dave Evanoff to put their own stamp on the scripts they work with, but that stamp is a lot bigger in a production with as little dialogue as "Go, Dog. Go!" In a moment where all the dogs come out on scooters, for example, I can see how Fleming must have traced everyone's path on the floor, Rapier must have helped coax out more defined expressions, and Evanoff must have made it all sound big.

Evanoff is so involved that he becomes an onstage character: the purple-clad Musician Dog, cavorting with an accordion. During the opening night performance, I heard the most children's laughter when he played clinking noises on his keyboard, timing them perfectly to Colleen Baum's movements as she tested out her newfound powers as MC Dog.

Baum was both authoritative and good-humored, while Shannon Musgrave was darling as the frilly Hattie, twirling past in an array of decorated hats. I loved the interaction between them. The whole audience was cracking up when Hattie asked, "Do you like my hat?" and MC Dog responded with a smile, "I do not like it! Goodbye!"

Deena Marie Manzanares was a ball of frenetic energy as the little Blue Dog, who gave a mid-performance recap that included a funny impression of Baum scolding, "Night is not a time for play."

Jay Perry had me laughing out loud as Yellow Dog, especially when he pointed at himself in pride that he was the same color as the sun. And then there was the physical humor of his head poking out from under the covers on a big bed, while other dogs' arms and legs poked out at the right angles to make him appear 12 feet tall.

Repertory Dance Theatre company member Nathan Shaw was the strongest dancer, displaying fluid movements and well-timed leaps, but Manzanares (an occasional burlesque dancer) held her own.

It was a fun energy when all the dogs ran around carrying steering wheels to represent cars. Red Dog Dustin Bolt was a convincingly impatient motorist as he made honking sounds, while Manzanares appeared to be sending text messages as a passenger in Perry's car.

The colorful clothes and props by costume designer K.L. Alberts and set designer Keven Myhre added just the right amount of whimsicality.

Two of the loveliest moments involved water: Jesse Portillo's moody lighting added a lyrical beauty to the "three dogs at a party on a boat at night scene," as well as to the long piece of blue cloth that was raised and lowered to represent "a dog over the water" and "a dog under the water."

Evanoff's musical design included a slowed-down version of "Take Me Out to the Ball Game" for a slow-motion baseball game, as well as a slight nod to the holidays with a snippet of "Carol of the Bells."

Several numbers were jazzy songs in which the performers scatted lyrics like, "Zoo bee do doo be do bow wow wow WOW!" The final song, led by Hattie, is a bluesy number in which she sings "Do you? Do you like my hat?" It's so darn catchy that I haven't been able to get it out of my head since I first heard it.

This may be billed as a musical for children, but these performances are skilled and defined enough for everyone.