Review: OC's Segerstrom Center Welcomes MRS. DOUBTFIRE Musical

As silly and nostalgic as one might expect, the stage musical adaptation of MRS. DOUBTFIRE—based on the beloved 1993 hit film starring Robin Williams and Sally Field—has finally arrived to say "hellooooo" to audiences at OC's Segerstrom Center for the Arts in Costa Mesa, where its national tour stop continues through October 6, 2024.

An entertaining crowd-pleaser heavily reliant on broad, sight-gag-heavy humor, this musical theater conversion of the box office blockbuster elicits lots of genuine laughs simply by making sure to recreate many of the source material's memorable moments that made it a comedy favorite in the first place. 

The movie—directed by Home Alone/Harry Potter director Chris Columbus and features a screenplay by Randi Mayem Singer and Leslie Dixon, based on the 1987 novel, Madame Doubtfire by Anne Fine—became the perfect vehicle for a comedic genius like Williams, whose knack for outlandish, physical comedy and absurd, improv-like delivery mixed with heart and emotion was its core draw.

The eventual stage production, luckily, found its Williams stage doppelgänger in the very talented musical-comedy actor Rob McClure, a long-time Broadway vet who has returned to lead this national tour company after earning a Tony nomination for the very same lead role he originated. 

Blessed with an undeniable talent for physical comedy, a large catalogue of voices, and emotional dexterity, McClure expands on Williams' original performance by making it his own to a certain extent, adding singing and dancing to the mix with impressive gusto and brilliance that audiences will no doubt enjoy. 

He also honorably recreates a lot of the memorable scenes from the movie with great reverence while also amping it for a live audience. Yes, if you're coming to the show wondering if those scenes you remember so fondly from the film make appearances here, you most likely will not be disappointed (spoiler alert!, there is no live-animal party at the start of the show, however). 

From the infamous cake-on-face gag to the penultimate chaotic dinner party/job interview, these scenes get highlighted reprises in the stage adaptation, albeit with some understandable tweaks.

I'm not sure the show would have truly worked quite as well as it does without someone as brilliant at physical comedy and touching tenderness as McClure is, so audiences should be fairly satisfied if he's still on the playbill when the show comes to your neck of the woods. 

Though, for the most part, the show itself is an enjoyable one on its own merits—a funny musical comedy that produces pure laughs while also tugging at genuine heartstrings with calculated placement when it counts. It pretty much sticks very close to the humor of its cinematic origins, which proves to be both good and bad. The good: its got nostalgic, mostly inoffensive fun that brings to life the film in the new format of a musical. The bad: the adaptation—while certainly enjoyable and reminiscent of the movie—doesn't really say anything new or produce something significantly deeper than what the film had already addressed.

The core narrative remains the same… freshly divorced Daniel Hillard (McClure)—a struggling actor with a slant towards an immature, Peter Pan persona—continuously angers his ex-wife Miranda (played by Catherine Brunell, who took over the role from McClure's real life wife Maggie Lakis), an extremely busy, successful business woman who's about to launch a new fitness offshoot of her clothing line, in partnership with rich Brit gym franchise owner Stuart (Alex Ringler).

Exasperated with Daniel's constant display of irresponsible behavior, Miranda feels it necessary to sue for full custody of their three young children: oldest teen daughter Lydia (lovely-voiced Giselle Gutierrez), pre-teen son Christopher (the terrific-sounding Sam Bird on opening night), and youngest Natalie (adorable Charlotte Sydney Harrington on opening night) after Daniel's latest display of poor, unreliable parenting. 

To Daniel's disappointment, the judge awards Miranda sole custody while still allowing for Daniel to have visitation rights on Saturdays—on the condition that he gets stable employment and a decent apartment (both rather tough prospects in 2024-era San Francisco).

Of course, Daniel—highly motivated to do right by his kids—soon finds a job as an entry-level janitor at a local TV station run by Janet Lundy (hilariously deadpan Bianca Rivera-Irions) and secures himself a modest, affordable apartment (in the city, wow!) that will eventually require occasional visits from a court-appointed inspector (Romelda Terron Benjamin).

During the kids' first visit with their dad, Daniel is irked to learn that Miranda is not only possibly dating a new beau, but that she is also looking to hire a part-time nanny to help with the children in the afternoons as she gets busier and busier at work. 

This triggers a wild idea for Daniel: why not disguise himself as an elderly Scottish governess named "Euphegenia Doubtfire," and convince Miranda to hire "her" to be the nanny (by sabotaging all other "applicants"), and, therefore, secretly spend even more time with his kids? Sure, it's quite a morally duplicitous scheme, but, in a way, the well-meant intentions motivated by his love for the kids seem much more forgivable here—particularly for us in the audience looking for the comedic possibilities of such a ruse.

With the help of his movie special effects makeup artist brother Frank (scene-stealing Aaron Kaburick) and Frank's husband Andre (the fab Marquez Linder), Daniel turns on the old-world charm and homespun words of wisdom, and then improvs domestic skills to become an invaluable member of Miranda's now super-organized, very tidy household. Funny enough at the same time, Daniel finds himself being schooled on the many ways he could improve and become a better co-parent and father.

As fans of the film remember vividly, high jinks and close-calls await as Daniel schemes to great lengths to remain close to his children after their parents' difficult divorce. The show mines much of the comedy and drama from Daniel's chaotic juggling act of maintaining a double life while trying to rebuild his fracturing relationship with his children and ex-wife, and snag an on-air job at the TV station.

Blending broad humor, genuine heart, and narrative-forwarding songs, the stage musical adaptation is buoyed mostly by heartfelt themes, hilarious jokes and sight-gags, and high-energy performances, particularly from its wildly animated star McClure. At its nucleus, the show explores a man-child forced to grow up in order to become a better parent figure rather than just a "fun," friend-like parent. Along the way, Daniel also learns important lessons about acknowledging mutual responsibility, having empathy for a partner, being a selfless parent, and identifying the give-and-take of family. 

For the audience, MRS. DOUBTFIRE examines the funny and sometimes sad, extreme lengths a parent will go to for the love of his children. The central message—about the importance of family and understanding what it takes to be a contributing partner in one—resonates with audiences and serves as the emotional foundation of the story as was seen in the film. 

The musical adaptation—featuring serviceable songs by Wayne and Karey Kirkpatrick and a gag-filled book by Karey Kirkpatrick and John O'Farrell—stays fairly true to the film's core narrative, tweaking story machinations and expanding on certain elements here and there to suit its new stage format, including slightly more moments of reflection for both Daniel and Miranda. I do appreciate the extra heft given the character of oldest daughter Lydia, who gets a bit more character development (and a lovely, introspective ballad) here than in the movie. 

And Miranda's struggles as a single working mother—and the reasons for her divorce from Daniel—are also explored in slightly more detail here than in the film, making her a more sympathetic and complex character. Still, with the musical primarily focused on Daniel's arc, Miranda's journey doesn't receive the same level of attention or development as one might want in this enhance retelling.

But despite these expanded, time-filling elements being emotionally moving for the most part, they don't really add much extra depth to the film's already well-known narrative motifs. I feel like this adaptation, while quite enjoyable, didn't take full advantage of the stage medium as it could have, which offered its creators opportunities for even deeper exploration that were touched on but not fully embraced.

The plot does concentrate on following the film's familiar beats—down to the reverent recreation of dialogue and situational occurrences that audiences will remember and appreciate, including everything from the hilarious shenanigans that occur during the inspector's first home visit with Daniel (while disguised as Euphegenia) to even Mrs. Doubtfire's first attempt at cooking a gourmet meal for Miranda and their children (yes, that, fiery scene). To be honest, I didn't hate this approach either, because I pretty much laughed out loud right alongside that audience on opening night.

But like the original film, this stage adaptation does succeed as a likable blend of comedy and heart. Much of its humor is mined from the absurdity of McClure's riotous performance as Mrs. Doubtfire and the physical comedy that results from his character's pursuit of a double life. The hilarity is light-hearted and PG-friendly, with moments of slapstick comedy and witty dialogue, especially when Daniel is caught juggling his dual, often clashing identities that require distinct differences to be very, very precise. 

But to achieve comedy and heart in equal balance, the shift between the comedic antics of the title character and the serious subject matter of divorce and familial separation shouldn't feel so jarring. Balancing comedy with the emotional weight of the family drama is a delicate act, and at times, the tendency for the show to favor broad, often sophomoric humor undercuts the seriousness of the more emotional moments. It's a slight flaw—but who doesn't want a good, hearty laugh in a musical comedy?

And speaking of comedy… there is the subject of our title character's use of drag as a source of humorous subterfuge. The transformation sequences—where Daniel shifts from his true self to his alter ego Mrs. Doubtfire—are indeed a highlight of the production, often involving remarkably quick costume changes and makeup effects that enhance the comedic absurdity of the situation. The use of physical comedy is central to the show's appeal, particularly in the scenes where Daniel struggles to maintain just one of his dual identities at a given moment.

But for me, unlike the more dated, more problematic TOOTSIE (another recent musical adaptation that doesn't quite have a forgivable motivation for a man dressing in drag for laughs), the premise behind MRS. DOUBTFIRE seems to come from a kinder, more genuinely loving place (not just as a means to "get ahead" in one's career), which is perhaps why it's much easier to be enamored by this silly musical comedy despite some audiences maybe objecting to its premise within a 2024 lens. But as someone who revels and appreciates the artistry of drag, MRS. DOUBTFIRE falls right in line with many of those hilarious skits performed on a certain RuPaul-hosted reality show—but with the added bonus of tugging heartstrings.

Other things worth noting include David Korin's modern-meets-nostalgic set design that evoke its cinematic origins and Catherine Zuber's pleasantly timeless costumes, particularly Mrs. Doubtfire's proper Brit wardrobe. And bravo to the artisans (seemingly uncredited in the program) responsible for creating the prosthetics worn by McClure to transform into Mrs. Doubtfire in fascinating speed. Additionally, Lorin Latarro's choreography is quite lively in its sparse usage, complimenting the musical's comedic tone whlle adding an extra layer of energy and entertainment to group numbers.

Overall, MRS. DOUBTFIRE's stage musical adaptation offers audiences an enjoyable, light-hearted live iteration of the beloved film, filled with humor, heart, and large doses of 90's-bred nostalgia (updated with 21st century lingo and gadgets). While certainly not without some flaws, the general takeaway from this hilarious musical is that most audiences will walk away smiling having spent an evening laughing and feeling optimistic that kids of divorce will be okay in the end—just as long as there is love involved. 

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Photos by © Joan Marcus, courtesy of Segerstrom Center for the Arts.

Performances of MRS. DOUBTFIRE - THE MUSICAL continue at Segerstrom Center for the Arts in Costa Mesa, CA through October 6, 2024. Tickets can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa. For tickets or more information, visit SCFTA.org. 

Photo Credit: Joan Marcus

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