Review: MRS. DOUBTFIRE at DPAC

The beloved 1993 film Mrs. Doubtfire is filled with larger-than-life characters, outrageous comedy, and, most importantly, a tremendous amount of heart. On paper, it seems like a natural fit for musical theatre. Unfortunately, the touring production struggles to recapture the charm and emotional sincerity that made the original so memorable.

The story follows Daniel Hillard, an out-of-work voice actor whose increasingly immature behavior contributes to the breakdown of his marriage. When his wife Miranda files for divorce and gains primary custody of their three children, Daniel devises an elaborate scheme to remain close to them by disguising himself as an elderly Scottish nanny, Mrs. Doubtfire. It's a premise ripe for theatrical comedy, but one that ultimately depends on audiences believing in the love beneath all the deception.

Craig Allen Smith takes on the enormous responsibility of portraying Daniel and his alter ego, stepping into a role forever associated with the late, great Robin Williams. Those are impossibly large shoes to fill, and while Smith doesn’t quite reach the heights of Williams’ iconic performance, he gives the role everything he has. His command of Daniel’s various voices and mannerisms is impressive, and his physical comedy becomes one of the production’s greatest assets. I was particularly surprised by his dancing, which adds another dimension to an already demanding performance. Smith rarely gets a moment to catch his breath, and his commitment to the role is evident throughout.

Melissa Campbell brings a welcome sincerity to Miranda Hillard, although the material doesn’t give her nearly enough opportunity to shine despite her central importance to the story. Her Act Two number, “Let Go,” is easily one of the evening’s musical highlights. Campbell’s powerhouse vocals soar throughout the auditorium, culminating in final notes that earned audible “oohs” and “ahhs” around me. Alanis Sophia similarly impresses as eldest daughter Lydia Hillard, bringing a beautiful voice with a pop-star quality that deserves recognition.

Some of the evening’s biggest laughs come courtesy of Brian Kalinowski as Daniel’s brother Frank and DeVon Wycovia Buchanan as his partner Andre. The pair have wonderful comedic chemistry, particularly in the recurring gag involving Frank’s inability to tell a lie without letting out an involuntary scream. Considering just how much deception unfolds throughout the evening, the joke gets plenty of opportunities to return, and Kalinowski makes the most of every one.

While the cast gives the material everything they have, the book and score don't always provide the same level of support. With music and lyrics by Wayne Kirkpatrick and Karey Kirkpatrick, and a book by Karey Kirkpatrick and John O'Farrell, the creative team certainly has the credentials to deliver a compelling show. The Kirkpatricks were responsible for Something Rotten!, one of my personal favorite musicals, making the score here all the more disappointing. Few of the songs leave a lasting impression, and several seem designed more to accommodate elaborate production numbers than to advance the story or deepen our understanding of the characters or their relationships. "Easy Peasy" is a particularly glaring example, offering plenty of spectacle without contributing much to the narrative.

That disconnect extends beyond the musical numbers and into the characterization of Daniel himself. His immaturity and childlike imagination are central to the story, but here they're pushed so far that he often comes across as an actual child rather than an adult struggling to grow up. While Smith makes Daniel's love for his children abundantly clear, the book and direction do little to establish a believable relationship between him and Miranda. It's difficult to imagine these two adults ever having built a life together, and without that emotional foundation, the larger story of a fractured family trying to find its way forward loses much of its impact.

David Korins' scenic design, both literally and figuratively, sets the stage for the kind of production we're about to experience. The San Francisco backdrops feel surprisingly simplistic for a national tour, particularly when compared with the more fully realized environments of the Hillard home. Those moments left me wishing that same attention to detail had carried through to the other settings. One undeniable technical achievement, however, is Daniel’s transformation into Mrs. Doubtfire. Catherine Zuber’s costumes, Victoria Tinsman’s hair and wig design, and Craig Forrest-Thomas’ makeup design come together to create a remarkably convincing disguise, making Mrs. Doubtfire herself one of the production’s most impressive visual accomplishments.

The production also goes to great lengths to recreate the film’s most memorable moments, from Mrs. Doubtfire accidentally setting her chest ablaze while cooking dinner to the infamous “drive-by fruiting,” the pie-covered face, and the familiar cry of “Help is on the way!” As a fan of the original, there’s certainly something enjoyable about seeing these iconic moments brought to life onstage. Yet while their inclusion is understandable, many feel shoehorned into the production, serving more as nostalgic callbacks than moments that emerge naturally from the story.

Judging by the audience around me, however, my experience was far from universal. Laughter, cheers, and applause filled the auditorium throughout the evening, and there's no denying that many found plenty to enjoy. For families looking for a fun night out, or audiences drawn to the comfort of experiencing a familiar story in a new way, Mrs. Doubtfire certainly offers plenty of broad comedy, elaborate disguises, and theatrical spectacle.

Yet for me, the production loses sight of the very thing that made its source material worth adapting: the family at the center of it all. The cast works tirelessly to make the evening entertaining, but their considerable efforts aren't enough to overcome an adaptation that prioritizes spectacle over the warmth and emotional connection at the heart of the original.

Mrs. Doubtfire runs at DPAC through November 1st.

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