Mrs. Doubtfire – Birmingham Hippodrome

Book: Karey Kirkpatrick and John O’Farrell

Music and Lyrics: Wayne Kirkpatrick and Karey Kirkpatrick

Director: Jerry Zaks

Few who’ve seen it will forget Robin Williams’ performance in the 1993 film Mrs. Doubtfire. By turns manic and chaotic, then tender and warm, his larger-than-life performance at the height of his powers helps make the film.

The stage adaptation has had to overcome several obstacles, including a complete change of creative team and previews being rudely interrupted when Broadway went dark as a consequence of the COVID-19 pandemic. Nevertheless, the team persevered, and various versions were spawned, culminating in a West End run and this tour that kicks off in Birmingham. The creative team has brought the production up-to-date with references to the internet, Wi-Fi, social media, and digital assistants that all fit seamlessly.

The story will be familiar to many: Daniel Hillard is a childlike voice actor. While he adores his three children, he’s also self-centred and cannot see the writing on the wall until his wife, Miranda, asks for, and is granted, a divorce. With limited visitation rights, when he sees Miranda’s advert for a nanny, he concocts a scheme to get close to the children, and so the character of Mrs. Doubtfire is born. Between his efforts to maintain the deception, get close to his children and derail Miranda’s budding romance with gym bunny Stuart, chaos ensues.

Fans of the film will recognise many of its iconic scenes, the cake scene being just one example. Before the interval, there’s a procession of set-piece comedy skits that have the audience laughing out loud. As Daniel, Gabriel Vick brings manic energy to the lead role; it’s reported that during filming of the original, several cameras would be used to capture the cast’s reactions to Robin Williams’ spontaneous ad-libs, and Vick’s performance has that same slightly edgy spontaneity. But there’s a hint of vulnerability, shown in Daniel’s song, I Want to Be There. After the interval, the mood becomes more introspective, and the pace slackens as Daniel’s plans appear in danger of unravelling, though the famous frantic restaurant scene is done impeccably. The ending manages to be touching while just stopping short of schmaltz.

The story stands and falls by the performance of Daniel and will inevitably draw comparisons with Williams. Vicks rises to the challenge, and while echoing the energy of Williams, he still makes the role his own and injects plenty of heart into it. He shows Daniel’s growth, forced upon him by the consequences of his own actions, clearly; the Daniel at the end of the show has not lost any of his madcap charm, but is more self-knowing than the one who so infuriated Miranda at the beginning.

Kara Lily Hayworth brings a long-suffering vibe to Miranda as she despairs that Daniel only has three children to care for; she has four. Her solo songs show her to be in excellent voice as she makes her feelings plain to the audience.

Ryan Pidgen and Jairus McClanahan bring us Daniel’s brother, Frank, and brother-in-law, Andre, respectively, and are camp and outrageous. They’re maybe a touch stereotypical, with the running joke about Frank’s tell when he’s lying wearing a bit thin as the evening progresses.

Carl Patrick’s portrayal of washed-up children’s TV presenter, Mr Jolly, however, is right on the nose and an absolute joy to watch.

This is a highly technical production with so many dizzying quick changes that threaten to boggle the mind, as Daniel switches between himself and Mrs. Doubtfire apparently in the twinkling of an eye; it’s all very impressive, as is the set design of David Korins, whisking us from place to place and making good use of the Hippodrome’s huge stage. Imaginative lighting, designed by Philip S. Rosenberg, also helps focus our attention on the action and the characters’ feelings.

Overall, this is a hugely enjoyable romp, technically slick, often very funny and carried by a lead performance that manages to nod to Williams without being trapped by him. It may not be flawless, and the second half doesn’t quite keep pace, but there is still plenty here to please fans of the film. Even those coming to it fresh are unlikely to resist it for long.

Runs until 19 September 2026 and on tour