On the surface, a musical like Mrs. Doubtfire doesn’t seem like it would work. In an age where every classic comedy has been adapted to the stage, it’s harder to stand out as having something worthy of drawing your attention. Given that this is also based on one of Robin Williams’ most beloved works, the need to create something faithful proves all the more challenging. Nobody could match his manic energy and impressions-a-minute approach to comedy. So, what’s a touring production to do that will do the whole thing justice?
Why hire the Broadway originating actor, of course. Rob McClure received a Tony nomination for playing protagonist Daniel in New York. If there is any draw for audiences to go out and see it, it’s him not only for the novelty of seeing a rare Broadway-to-tour casting, but also because he’s likely to be the most iconic portrayal of this musical character. With all due respect to his understudies, it seems difficult to match the same energy that he brought to the show at its stop at Segerstrom Theater where he maneuvered between impersonations and costume changes that require an impeccable focus and even more energy. It’s so labor intensive that the Orange County audience are likely to notice him losing steam by the end. During a sweet ballad between father and daughter, his voice was struggling to keep up. Even with this flaw, there was something admirable about seeing an actor dedicate so much of himself to the role.
As far as giving fans what they want, Mrs. Doubtfire delivers on some of it. While it has been updated to reflect a 21st century version of nuclear family, the spirit is still largely the same. The humor may be crude and feature innuendos, but it still comes across with a kindhearted PG nature that allows everything to never feel uncomfortable. Given that it’s a story about family values, it’s a relief to see the edginess not overpower the narrative and instead allows for everyone, especially the child actors, to dig into complex emotions underneath. While some may still find issue with the nature of how Daniel sees his kids, it’s a self-aware enough adaptation to at least try to comment on this dated element.
The one caveat is that this show is less thrilling if judged solely on story beats. There’s a lot of winking at the audience and playing on familiar tropes that are sure to get laughs. It’s by no means a bad script, but McClure’s dedication is what sells every last earnest emotion as he juggles between roles. Daniel is more conventional and less interesting as a goofy dad type. It’s when he takes on Mrs. Doubtfire that he becomes something more curious and exciting.
While this technique may feel familiar to anyone who’s seen Tootsie or a variety of vaudeville type shows over the past century, the way that it unfolds is still undeniably fun. Given that there’s joy in watching McClure convince his co-stars that both characters exist simultaneously, it leads to some impressive moments of physical comedy taken directly from the film. The results are hammy, but they still land thanks to the precision with which each joke is timed. Even pulling back the curtain so that the audience can see the costume changes results in a greater meta commentary on the absurdity of this gag. Even then, it makes for some thrilling theater if just because by then McClure has convinced the audience to trust him as he tries to get across the finish line. The fear of failure drives the comedy and makes the familiarity easier to digest.
It also helps that the music (written by the team behind Something Rotten) allows for the humor to resonate in more bombastic ways. McClure’s ability to sing in both masculine and feminine registers makes for some interesting decisions, notably as Mrs. Doubtfire makes an uproarious feast out of singing the word “No.” The catchiness of the melodies gels with the set pieces as ensemble numbers find kitchenware turning into defying stunts of throwing eggs into bowls while quoting tongue twisters. It may not be the greatest songbook ever written, but seeing it play out elevates the material into true spectacle.
The story may be overlong and predictable, but Mrs. Doubtfire as a show delivers on everything it promises. The family values nature may feel forced by the end, but even then the actors deliver with such sincerity that they become easy to root for. McClure’s performance is mythic and one can only hope his replacements will do the role justice. For now, it’s still an ideal version of the show that finds theater doing exactly what it should. It’s entertaining and gets the room invested in every small punchline. They may not be the wittiest, but there’s still enough to grasp onto for those wanting a delightful evening of theater.
Mrs. Doubtfire isn’t likely to be a show that many hail as great theater. With that said, it still uses a tried and true formula that emphasizes the stage as a place of wonder. Individually, every component falls a little flat. Together, the execution has sublime moments of impressive uncertainty. Again, McClure’s performance was a big reason to see it, though the supporting ensemble also isn’t without merit. For now, this is a fun romp that delivers on everything that fans of the movie will want. It’s not quite as uproarious, but it proves how endearing the story remains three decades later.
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