Mrs. Doubtfire – A Jaunty Disappointment
Chances are if you’re drawn to this musical it might be for one of two very different reasons. Either you fondly remember the 1993 film and Robin Williams’ terrific performance or you’re an uber fan of the brothers Kirkpatrick’s last Broadway outing, the highly imaginative and entertaining Something Rotten. Were I not attending as a professional, both would have intrigued me. To my own motivation, I’d’ve added star, Rob McClure of whom I’ve been a fan since the ill fated “Chaplin.”
The successful 1982 film Tootsie predated Mrs. Doubtfire. A 2018 musical based on that vehicle precipitously fell on its nose with more going for it than this one. Movies made into musicals have a poor track record. Few live up to expectations. Those that survive are too often inadequate, though film fan base and spectacle keep some going for a time.
Kaleigh Cronin, Casey Garvin, Brad Oscar (Frank Hillard) Erica Mansfield, Rob McClure (Daniel Hillard), Jaquez Andre Sims, J. Harrison Ghee (Andre Mayem) Alena Watters, Cameron Adams, Aaron Kaburick, Calvin L. Cooper
Yes, the story is dated. A man dressed as a woman is old news. That he’s trying to see his children on a regular basis after divorce holds up, however, as does comic possibility when the older kids discover that Mrs. Doubtfire is actually their father and try to keep the truth from everyone else. The protagonist’s Peter Pan-like irresponsibility may sit less easily in current social upheaval, but its appeal to his kids is a slam dunk. When the hero is eventually able to mine qualities that contributed to the break up of his marriage, it’s credible.
Daniel is ostensibly still in love with his divorced wife, Miranda (Jenn Gambatese, who elicits little sympathy, an issue partly due to writing). Injecting feminism into this iteration, she’s now the creator of a line of body-conscious activewear. This provides opportunity for one of endless sight gag numbers with elderly, soft Mrs. Doubtfire dancing up a storm. It’s cute, but how many times…?
That Daniel tries to sabotage Miranda’s burgeoning relationship with her business partner Stuart Dunmire (played with charm by Casey Garvin) is the only indication of spousal love in a plot otherwise fixated on the kids. Daniel’s brother Frank (Brad Oscar, always a pleasure) and his husband Andre (J. Harrison Ghee), make-up experts, transform him into a woman so that he can masquerade as a nanny in his former home. Both gay characters are mired in cliché.
Rob McClure (Daniel Hillard)
“Make Me a Woman,” an over the top number featuring the three men is overstuffed with famous females, supposedly iconic fashion inspirations, and men dressed in drag. It’s something of a mess. Ill equipped to take on domestic duties, Daniel turns to the internet conjuring singing/dancing cooking show hosts and chefs (reminiscent of the dancing chefs in Something Rotten). What had potential for great amusement is again overdone. (The other technically oriented update is his hacking the kids’ iPads and phones. Really?) Choreography by Lorin Latarro is fun.
The role of a court-appointed inspector, Wanda (Charity Angel Dawson who can act and sing but is ill used), has been unnecessarily built up and includes the truly dreadful, out of place “Playing with Fire.” During the farcical restaurant scene in which Daniel attempts to appear as both alter egos in quick succession, a flamenco group led by Alexandra Matteo is employed to cover changes. Staging is more obvious than winking.
Scenes and songs having to do with the Mr. Jolly Television show, however, are delightful. Rubber-faced Peter Bartlett is a treat, though adults playing an audience of children is an ouch and the show shines with Daniel’s ad-libbing what he would do on air and a later scene in which we see him do it. THESE are reflective of the Kirkpatrick’s last show.
Rob McClure (Daniel Hillard)
The Hillard children, Natalie (Avery Sell, whose high, screechy speaking voice is as unbelievable as her lipstick), Christopher (Jake Ryan Flynn, who exhibits no distinctive personality), and Lydia (Analise Scarpaci, a powerful pop belter with too much audience consciousness) are stagey. 15 year-old Lydia is written full of character contradictions, a pity since her relationship with Daniel can be poignant.
Rob McClure (as Daniel Hillard/Mrs. Doubtfire ) can do anything with panache. The thespian sings and dances with spirit, does marvelous imitations, understands the pivotal timing of waggish delivery and can be, when allowed, palpably tender. May this remarkable performer have better luck next time.
The Kirkpatrick’s songs are a disappointment in light of the cleverness of their last Broadway outing. You won’t remember a thing about them except perhaps the absence of a cohesive approach. John O’Farrell’s book is heavy- handed, uncomfortably straddling then and now.
Mostly on-stage transformation is inspired. Tommy Kurzman’s make-up and prosthetics get Daniel in and out of distaff character with astonishing speed and in one scene leave him hysterically exposed.
The Company
Other costumes are, alas, almost uniformly ugly and often cheap looking, a surprise from the usually reliable Catherine Zuber. Wigs by David Brian Brown look false.
David Korins set is like that of the film without its crisp style. It looks cartoony. Background images/cut-outs of San Francisco work nicely, however.
Photos by Joan Marcus
Opening: Avery Sell (Natalie Hillard), Jake Ryan Flynn (Christopher Hillard), Analise Scarpaci (Lydia Hillard), Jenn Gambatese (Miranda Hillard), and Rob McClure (Daniel Hillard as Euphegenia Doubtfire)
Mrs. Doubtfire
Music/Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick
Book by Kary Kirkpatrick and John O’Farrell
Based on the Twentieth Century Studios Motion Picture
Directed by Jerry Zaks
Stephen Sondheim Theatre
124 West 43rd Street
