Birmingham Hippodrome – until 19th September 2026
Reviewed by Emma Millward
5*****
Fresh from a successful West End run, Mrs Doubtfire The Musical began its first UK and Ireland tour last week, and Birmingham Hippodrome is the perfect setting for its tour debut. Based on the much-loved 1993 film, Mrs Doubtfire follows Daniel Hillard, an out-of-work actor whose divorce leaves him struggling to maintain a relationship with his three children. When he can no longer see them as often as he would like, Daniel comes up with an increasingly elaborate solution. He transforms himself into the Scottish nanny Mrs Doubtfire. Gabriel Vick is excellent as Daniel, bringing impeccable comic timing to the role. His performance as Mrs Doubtfire embraces the physical comedy without simply attempting to imitate Robin Williams’ iconic film performance. Vick gives Daniel a genuine vulnerability, ensuring the character has emotional depth beyond the comedy.
Kara Lily Hayworth brings an endearing strength to Miranda, making sure she is never made to feel like the villain, while Aaliya Mai perfectly portrays Lydia’s struggles to keep her family together. The family relationships provide the emotional centre of the production, allowing the story to explore the impact of divorce and separation on both parents and children. The other children, Christopher (Alexander Beaumont) and Natalie (Hattie Leddington Wright), are given plenty to do, with their individual relationships with Daniel and Miranda adding further depth to the story.
The supporting cast bring plenty of energy and laughs. James Darch brings warmth to Miranda’s new boyfriend Stuart, a character who could easily become a stereotypical love rival. Kiera Haynes brings dry humour to Janet Lundy, Daniel’s deadpan television studio boss, who he must impress to secure his own show. Mrs Sellner (Samuelle Durojaiye) has many comic moments, especially during the famous ‘meringue face-mask’ scene, as Daniel’s deception becomes harder to maintain. Rhianne Alleyne makes a memorable impression as the flamenco singer in the restaurant scene, with her performance of ‘He Lied to Me’ so infectious that the song stayed in my head all the way home.
Carl Patrick is a delight in the dual roles of Mr Jolly and the Judge, with Mr Jolly’s recurring line, “I’m so confused” becoming one of the show’s most memorable moments. Ryan Pidgen and Jairus McClanahan are hilarious as Daniel’s brother Frank and his partner Andre, especially during the disco-infused song ‘Make Me A Woman’. The ensemble work is consistently strong, bringing Lorin Latarro’s choreography to life with precision and enthusiasm.
One of the production’s biggest theatrical strengths is its transformation magic. The speed of the costume changes, particularly during the final restaurant scene, is impressive. Catherine Zuber’s costumes, Sam Cox’s hair and wig design, and Craig Forrest-Thomas’ make-up design work together seamlessly to bring Mrs Doubtfire to life. Watching Daniel repeatedly transform between his two identities is a reminder of exactly what live theatre can achieve.
Wayne Kirkpatrick and Karey Kirkpatrick’s music and lyrics, with a book by Karey Kirkpatrick and John O’Farrell, expand the original story rather than simply recreating it. One of the most enjoyable changes is the looping sequence, which replaces the memorable Dinosaur rapping section from the film.
Jerry Zaks’ direction keeps the production moving at a lively pace, while David Korins’ set design creates a suitably colourful and adaptable world. There is plenty of humour throughout, but importantly, the more emotional moments are given space to breathe. Mrs Doubtfire succeeds because it understands what made the original story so enduring while making full use of the possibilities of the stage. It never relies entirely on nostalgia and avoids becoming too sentimental.
A thoroughly enjoyable production that delivers plenty of laughs alongside a genuinely touching story about family and the lengths we go to for the people we love. Mrs Doubtfire is funny, heartfelt and fabulous.

