Review: GRUMPY OLD MEN: THE MUSICAL at Arizona Broadway Theatre

For nearly three decades, Broadway has treated Hollywood as its development department, transforming an ever-growing list of popular films into stage musicals, often with the assumption that a beloved title and familiar characters will automatically translate into an engaging musical.  Sometimes the transition uncovers emotional depth or theatrical possibilities the original film only hinted at. Other times, the adaptation simply reminds audiences why the story worked better on screen. GRUMPY OLD MEN THE MUSICAL falls squarely into the latter category.

Adapted by Dan Remmes (book), with music by Neil Berg and lyrics by Nick Meglin, the musical struggles to justify its existence beyond its recognizable title. The 1993 film charmed audiences not because of its fairly simple plot but because of the effortless chemistry between Walter Matthau and Jack Lemmon. Their decades-long friendship gave every insult, every prank, and every reluctant gesture of affection an authenticity that couldn't be manufactured. The screenplay wisely trusted that chemistry, allowing the comedy to emerge from character rather than gimmick.

The musical, however, seems to abandon that simplicity. Rather than quickly establishing the central rivalry between neighbors John Gustafson (Wes Martin) and Max Goldman (Robert Bubon) and their mutual pursuit of the charming Ariel Truax (Carolyn McPhee), the first act spends considerable time introducing the townspeople and various secondary storylines. As a result, the narrative drifts before finally arriving at the romantic competition that forms the heart of both the original film and the musical. By the time the central conflict fully emerges in Act II, much of the dramatic momentum has already dissipated.

Act II finally delivers the story the audience has been waiting for. As the rivalry over Ariel intensifies, the musical finally finds its comic rhythm and emotional warmth, allowing John and Max's lifelong friendship to emerge beneath decades of barbs and practical jokes.

While the musical fails to rise above its familiar premise, director Clayton Phillips refuses to let the evening sag. He keeps the pacing brisk and draws fully committed performances from a cast that never stops believing in the story, even when the script gives them little to work with.

Martin and Bubon create a convincing lifelong rivalry, their constant sparring and swapping of insults overshadowing an underlying affection that has survived years of competition and resentment. Carolyn McPhee brings grace and intellect to Ariel Truax, the independent woman whose arrival rekindles the neighbors' rivalry, although the script never fully develops her into the transformative figure she is intended to be.

The production’s finer moments benefit from several memorable supporting performances. Josey Terry is a comic delight as an aggressive IRS agent, delivering sharp comic timing and brisk bursts of energy (Snyder Comes Along). Ivana Martinic embraces the delightfully scatterbrained Punky Olander with infectious enthusiasm, while Alexander Cousins nearly steals the show as the outrageously inappropriate and uninhibited Grandpa Gustafson, delivering some of the musical's biggest laughs.

The secondary romance between Jacob Goldman (Austin Shaw) and Melanie Norton (Marina Blue Jarrette) supplies a welcome contrast to the older generation's prickly courtship. Their on-again, off-again relationship injects youthful energy into the proceedings and provides some of the musical's sweeter moments, even if the subplot occasionally competes for attention with the show's central story. The couple’s chemistry and earnest performances provide an appealing emotional counterweight to the cantankerous antics of John and Max.

Visually, the production fares considerably better than the script. The projection design effectively captures the snowy charm of Wabasha, creating an inviting Midwestern backdrop that helps establish both place and season.

One surprise is Kurtis Overby's choreography. His work has long been among Arizona Broadway Theatre's most consistently exciting creative assets, but here the dance numbers feel serviceable rather than inspired. They are cleanly executed but seldom provide the spark or personality that might have elevated the show's comic spirit.

Ultimately, GRUMPY OLD MEN THE MUSICAL illustrates one of the hazards of adapting beloved films for the stage: rather than finding a distinctly theatrical way to recreate the leads' irreplaceable chemistry, the musical simply inserts songs where conversations once lived, and those songs rarely reveal anything we don't already know. Still, Arizona Broadway Theatre deserves credit for presenting the material with professionalism, attractive production values, and a cast that commits wholeheartedly to every moment. There are laughs to be had and several standout performances worth enjoying. The production just can't entirely overcome a musical adaptation that never discovers a compelling reason to exist beyond reminding audiences how much they loved the movie.

GRUMPY OLD MEN runs through August 8th at Arizona Broadway Theatre -- https://azbroadway.org/ -- 7701 W. Paradise Lane, Peoria, AZ -- 623-776-8400

Graphic credit to ABT

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