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Regional Reviews: Phoenix Grumpy Old Men: The Musical Also see Gil's reviews of Les Misérables and Baskerville: A Sherlock Holmes Mystery Based on the popular 1993 film comedy of the same name, Grumpy Old Men: The Musical is a charming musical adaptation that delivers plenty of laughs while also celebrating the enduring value of friendship, family, and finding love when least expected. Arizona Broadway Theatre's production features a cast who lean into the comical sides of their characters while also ensuring the sweet charm of the show shines through. The plot is fairly similar to the film, with a few small changes and added or more fully fleshed out supporting characters. Set in a small Minnesota town, Grumpy Old Men centers on lifelong rivals and neighbors Max Goldman and John Gustafson, whose decades-long feud has become the stuff of local legend. Their daily routine of trading insults and practical jokes is disrupted when the spirited and independent Ariel Truax moves in across the street. Both men find themselves competing for her affection, much to the amusement of their families and neighbors, including John's daughter Melanie and Max's son Jacob. As the rivalry intensifies, long-buried emotions begin to surface, forcing Max and John to confront the loneliness, regrets, and stubbornness that have kept their friendship fractured for so many years. The musical, which premiered in 2018, features a bright and breezy, although mostly forgettable, score with music by Neil Berg and lyrics by Nick Meglin that complements Dan Remmes' comical book and captures both the humor and heart of the film. While the book is packed with many one-liners and humorous situations, it also reminds audiences of the important life lessons at its center: to cherish friendships and that it's never too late to mend broken relationships. The book and score expand on the film characters while providing more depth to their relationships. Fans of the film will appreciate the familiar moments as well as the new additions and those new to the story should enjoy the fun mix of comedy and charm along with the universal themes that remind us to embrace joy in both old friendships and new beginnings. The ABT cast is quite good. As John Gustafson and Max Goldman, the two grumpy old men at the center of the plot, Wes Martin and Robert Bubon, respectively, capture their characters' sarcastic wit and stubbornness while revealing the vulnerability beneath their gruff exteriors, creating two thoroughly lovable curmudgeons. They bring a nice dose of heartfelt sincerity to their performances and both have sweet and warm singing voices and good comic timing. Carolyn McPhee brings warmth and confidence to the part of Ariel Truax, whose energy and drive serve as the catalyst to gradually soften both John and Max. McPhee's honey-soaked singing voice is lovely. In the supporting cast, Marina Blue Jarrette and Austin Shaw provide strong support as Melanie and Jacob, respectively. They create characters with depth, and their rich singing voices shine. Ivana Martinic is appropriately kooky, with a beautiful singing voice, as one of the new characters, Punky Olander, and Alexander Cousins gets some of the biggest laughs in the show as John's wisecracking father. Josey Terry is appropriately conniving as an IRS agent who comes to town, and David Quinette is fun as the town mailman who suffers a series of ongoing, comical accidents. Darren Scott Friedman and Emma Victoria Clark play a few supporting characters with ease. Clayton Phillips' direction is good, for the most part, ensuring the cast deliver lovable and charming portrayals, although the decision to have the supporting cast on stage for most of the show, sitting in lawn chairs in the back on a raised platform as if they are a Greek chorus observing the action, is an odd choice. If there was something in the script where the townspeople are continually eavesdropping on or commenting about the action, or if this was a concert production instead of a fully staged show, it would be fine. However, as it is, it just doesn't work and continually draws your focus from the action taking place in front to the seated supporting cast at the back. There is also a fishing scene that takes place on the raised platform in the back that seems oddly staged with the various pieces of furniture that are permanently on stage in front, blocking some of the action. Jamie Hohendorf-Parnell's set is fairly simple, with a series of see-through elements and the addition of Olivia Herneddo's animated and colorful media designs that collectively and quickly depict the various locations in the plot. The character-specific costumes by Susan Kruidenier are lovely. While tracks are used, and they are a little thin and a bit too synthesizer heavy, Mark 4Man's music direction does derive lovely vocals and harmonies from the cast. There isn't a lot of choreography in the show, but Kurtis Overby contributes some nice group movements and steps. Like the film, the musical adaptation of Grumpy Old Men understands that, beneath its playful insults and comic rivalries, lies a genuinely touching story about human connection. It may not be the greatest musical created, but with a warm cast who deliver engaging performances, Arizona Broadway Theatre's production delivers plenty of laughs and a whole lot of heart. Grumpy Old Men: The Musical runs through August 8, 2026, at Arizona Broadway Theatre, 7701 West Paradise Lane, Peoria AZ. For tickets and information, please visit www.azbroadway.orgor call 623-776-8400. Director: Clayton Phillips Cast: |
