By CB Adams
Twice in the past month the Fox Theatre has hosted musicals based on films with the heavy stamp of the genius that was Robin Williams. Divorcing these properties – “Aladdin” and “Mrs. Doubtfire” – of Williams’s imprimatur is no mean feat, and both succeed in exactly the same way: by casting the lead roles with performers who bring their own distinctive and distinctively different talents. This is true, of course, of most performances (i.e., comparing one actor’s Hamlet to another’s), but it is even more of a consideration with the film-to-stage adaptations.
“Mrs. Doubtfire” is the second of the two recent productions, and although it is slightly less successful than the Disney property, it is still a fun and entertaining way to spend approximately 2 ½ hours in the post-holiday sugar-crash. I was especially looking forward to Rob McClure’s performance in the title role as Daniel Hillard and his alter ego, the hip old granny, Euphegenia Doubtfire – a performance that’s received consistently good marks during this production’s tour.
Opening night at the Fox, McClure was replaced by Alex Branton, who usually plays in the Ensemble and as the Director. It’s hard to know what I may have missed by the absence of McClure, but doubt now. It is to Branton’s credit (and talents) that his two-fer performance was such a delightful sweep through this charming, cross-dressing story of divorce, desperation and the dynamics of family – filled with 20 musical numbers, zingy one-liners and a plenitude of pop-up dances.
To paraphrase a Mrs. Doubtfire-ism, the key to solid production is laughter, and Branton and his fellow performers deliver a satisfying patter of well-executed physical comedy and inventive (if not evenly memorable) musical numbers. “Mrs. Doubtfire” is directed by Jerry Zaks, with music and lyrics by brothers Wayne and Karey Kirkpatrick and a book by Karey Kirkpatrick and John O’Farrell.
As the increasingly harried Daniel/Euphegenia, Branton was impressively frantic as he pivoted from moments drama to slapstick, song-and-dance and even onstage costume changes. Branton’s ability to seamlessly and believable toggle between the demands of this role is one of the show’s bona fide strengths. One of the best Branton moments is the up-tempo, pop inflected “Easy Peasy,” during which he learns to prepare a meal with the help of an energetic ensemble of back-up cooks. The number had the same lively vibe as the “Hot Chocolate” song in the movie “The Polar Express.” “Easy Peasy” is one of the best numbers choreographed by Lorin Latarro.
“Mrs. Doubtfire” is more than a one-housekeeper show. Joining Branton is Maggie Lakis (McClure’s real-life spouse) as Miranda, Daniel’s exasperated wife/ex-wife. Aaron Kaburick (reprising his Broadway role and is a native of Carlinville, Ill.) is Frank, Daniel’s hair stylist brother. It seems redundant to describe Frank, who shouts whenever telling a lie (which is often), as comic relief in a musical filled with comedy, but that’s exactly Kaburick’s achievement.
Nik Alexander plays Andre, Frank’s husband, and provides one of the best performances of the evening. Together with Frank, Daniel, Andre and the Ensemble, Alexander delivers a clever, show-stopping wonder with “Make Me a Woman.” Equally strong in her own way was Giselle Gutierrez as Lydia, the eldest daughter. Gutierrez displayed confidence and mature poise while delivering “Just Pretend,” a nuanced, poignant father-daughter duet.
As Miranda’s hunky himbo love interest, Stuart, Leo Roberts’s uneven acting and muffled dialogue (there were also numerous mic’ing issues during the show) were more than offset by his booming performance of “Big Fat No” – quite unexpected in a very good way.
“Mrs. Doubtfire” closes with “As Long As There Is Love,” a song that resonates with the show’s message of inclusion and a modern, expanded notion of what constitutes a family.
The song is not the strongest in the show, but it would have served as the appropriate ending. There’s an extraneous, unnecessary epilogue scene after the song, with Mrs. Doubtfire using hand puppets to reinforce the song’s theme of families coming in all sizes, shapes and genders.
This ending required another Mrs. Doubtfire-ism: “I Admire That Honesty, Natalie, That’s A Noble Quality. Never Lose That, Because It Often Disappears With Age, Or Entering Politics.”
Performances of “Mrs. Doubtfire”” at the Fabulous Fox run through January 7. Show times vary. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.