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   

By Lynn Venhaus

“I believe it’s called ‘Miser-ahh-bluh’!”

Brimming with references to many modern musicals, the spoofy, goofy “Something Rotten!” is a humdinger of a regional professional theater premiere from New Line Theatre. After all, it has an exclamation point in the title, so it must be special!

It is!

Fresh, funny, and frisky, the cast accepts their mission to have fun with the fluff, and the tight-knit ensemble is downright giddy frolicking in some of the most original show tunes in the past decade.

Besides the peppy song-and-dance numbers, the crowd-pleasing show provokes oodles of laughter and features an expertly tuned high-energy ensemble all-in with the snappy repartee and fun hijinks.

With its scaled-down setting and a smaller cast, this upbeat show flows smoothly on the Marcelle Theatre’s intimate stage. Scenic designer Rob Lippert used Shakespeare’s famous Globe Theatre as his guide, and director Scott Miller builds the action on two levels.

“Something Rotten!” opened on Broadway in 2015 and received 10 Tony Award nominations, including Best Musical, with Christian Borle winning the only one, as Best Featured Actor in a Musical as William Shakespeare. This is the regional professional premiere.

Written by Karey Kirkpatrick and John O’Farrell as both a love letter to literature and a send-up of musical comedy, it never takes itself too seriously.

Karey and brother Wayne Kirkpatrick penned a clever music score and lyrics that the New Liners deliver in a zippy and zany style that has the audience engaged at “Welcome to the Renaissance,” the opening number.

The time is 1595, and William Shakespeare is an idol-like bard. Meanwhile, brothers and playwrights Nick (Chris Kernan) and Nigel (Marshall Jennings) Bottom crave the same rock-star celebrity and fame. They are desperately in need of a hit but disaster plagues their endeavors.

Then one day, Nick listens to a soothsayer, Thomas Nostradamus (not THE Nostradamus, but his neophyte nephew), who predicts that musicals will be the next big thing.

When Nostradamus guesses Shakespeare’s next hit will be “Omelette,” wackiness then ensues.

The book’s cheeky wit comes through when principals engage in wordplay and display their sterling comic timing. It’s as if everyone is winking while they are smiling.

As the downtrodden Nick, Kernan confidently leads the ensemble. A versatile performer, he delivers “God, I Hate Shakespeare” and “Bottom’s Gonna Be on Top” with aplomb and “Make an Omelette!” showcases his character’s despair and stubbornness.

An ebullient Jennings, as the talented but shy brother Nigel, works well with Kernan, and they deftly land the theater-insider quips. When conflicts arise, their clash is believable.

Jennings and Melissa Felps are a charming romantic pair. As the Puritan lass Portia, Felps is radiant, and their strong voices soar in the ballads, blending beautifully in “I Love the Way” and are bouncy in “We See the Light.”

Jason Blackburn is comical, delivering double-entendres as Portia’s overbearing, religious zealot father Brother Jeremiah, who does not approve of his daughter’s relationship.

In one of his best performances, Clayton Humburg swaggers like a rock star as the egomaniac Shakespeare, encapsulating all the preening cliches in his “Will Power” introduction and has fun with the sly references. He’s amusing in his lament, “Hard to Be the Bard.”

Carrie Wenos uses both her comedic and vocal skills as Nick’s supportive wife Bea, a burgeoning feminist, and has fun with “Right Hand Man.”

And as Nostradamus – not “THE” soothsayer but his nephew Thomas – Jeffrey Izquierdo-Malon has a daffy debut that’s part Monty Python, part Marx Brothers.

The merry ensemble – Robert Doyle as Shylock and Lord Clapham, Chris Moore as a Minstrel and Peter Quince, Mara Bollini as Francis Flute, Kent Coffel as Robin Starveling, Brittany Kohl Hester as John Snug, Ian McCreary as Tom Snout, Maggie Nold as Helena and a psychic, and Alyssa Wolf as Miranda and an astrologer — are plugged into presenting the low-brow Mel Brooks’ type humor as well as the ‘higher brow’ theatrical and Shakespearean jokes.

Music Director Mallory Golden capably conducts band members Joe Akers on trumpet, Jack Catalanotto on guitar, John Gerdes on bass, Joe Hendricks on reeds and Des Jones on percussion while she plays keyboards. The band is strategically placed under the balcony.

Sarah Porter’s playful costume design allows the performers to move while wearing such period attire as puffy pants and petticoats.

Ryan Day’s sound design and Matt Stuckel’s lighting design seamlessly enhance the action.

Choreographer Alyssa Wolf’s crisp and snappy dance routines really shine, but the standout is “A Musical,” a hilarious pastiche of Broadway hits. “It’s Eggs!” is a rib-tickler too.

By the time the show wraps up with a reprise of “To Thine Own Self” and “Welcome to America,” your sides may ache from laughing and you may notice you have been grinning for over two hours.

“Something Rotten!” is a must-see comedic gem, a well-cast, well-staged show that’s a bright spot in local theater this fall.

New Line Theatre presents “Something Rotten!” from Sept. 23 through Oct. 15, at 8 p.m. Thursdays through Saturdays, at The Marcelle Theatre, 3310 Samuel Shepard Drive, in the Grand Arts District. For more information, visit www.newlinetheatre.com

Nostradamus. Photos by Jill Ritter Lindberg.