There were plenty of belly laughs last night at the opening of Octomom the Musical,
an irreverent parody of the icons of American excess who have consumed
the media and flattened the economy for the last couple years. The
production manages to poke fun at Bernie Madoff, greedy mortgage
companies, and of course the Octomom, in hysterical song and dance
numbers that are so clever and witty that they don't even seem
mean-spirited. It is non-stop craziness for the entire 62 minutes.
The production is the brain child of Chris Voltaire,
who wrote the book and lyrics, produced and directed the musical. He
also plays Octomom's infatuated fertility doctor and a TMZ reporter in
the show. Rachael Lawrence's music, ranging from tango to rap, is toe tapping and catchy. Dean McFlicker's over-the-top cornball choreography is just too fun. I can see the Octo-Dance joining the Time Warp as a cult classic.
Excerpt from Backstage Reviewed by
Jennie Webb
It's actually a little frightening, the thought of being part of the
media blitz about the musical about the media blitz about the media
blitz that is—or, hopefully, was—about
Octomom. And the people behind Cabaret Voltaire's shameless
exploitation of public sensation certainly don't shy away from
capitalization on any level. But refreshingly, once we get past all the
hype surrounding Octomom the Musical, there's a funny, sweet,
and somewhat scrappy standup musical satire that hits its targets
pretty darn often, without too much collateral damage.
The
evening is loosely constructed, cabaret-style, around the story of
Angelina Jolie look-alike Octo (Molly McCook), who finally believes she
has one-upped "bitch-ass Miss Jolie" after the birth of her twins.
Although this brings her total of lab rats, I mean children, to six, we
know this is only the beginning. Writer-director-producer-performer
Chris Voltaire, teaming with composer–music director Rachael Lawrence,
has cleverly connected the path of Octo's subsequent "investments" with
the inflation of the real estate bubble and the rise of Bernie Madoff,
et al.; a focused and energetic cast ensures it's an entertaining ride.
A dynamic Dinora Walcott as a songstress named Real guides us through
the antics of these pop-culture cartoons: As Madoff, the solid John
Combs does a mean "super Jew" Blake Hogue is hysterical as a real
estate sleaze and a number of other over-the-top characters; and the
wonderful McCook has a pout to die for and a killer voice to boot.
Voltaire, Lynette Li, Alexandra Holtzman, and Stu Barron round out the
ensemble; each has a fabulously ridiculous moment in the spotlight (a
wink also to the musical staging of Dean McFlicker).
Excerpt from Campus Circle by Jessica Goodman
Octomom has become an American star for being the first woman to have
eight kids at once, in addition to the six kids she already had. She
thought she would become another “Jon & Kate Plus 8” with all the
fame and riches, but instead, she turned into a complete nutcase in the
eyes of the public – and “Octomom the Musical” doesn’t hide it.
“Octomom the Musical” seems to be a complete mockery of the fact that our culture
has turned nobodies into famous stars and just continues to feed that
frenzy. Everything I had expected and more about Nadya Suleman’s ideas
about becoming rich from making babies was seen on the stage.
Molly McCook lived out her character of Suleman amazingly well, and the
whole cast was energetic. You’ll get a great laugh at how much of a big
deal our society makes of situations like Octomom’s.
"Parody with a point."
FOX 11 L.A.
REVIEW from MUSICALS IN LA
Octomom the Musical - Never Say Die
Playing to standing room only at the Fake Gallery in Hollywood, Octomom the Musical
continues to capitalize on the public’s lurid fascination with
celebrity. The show is a series of sketches highlighting the antics of
Octomom and others (Bernie Madoff among them), and whether you love her
or hate her, you have to admit that everyone has an opinion about her.
There’s something to be said for finding your news-niche, and this
woman has certainly had her share of airtime.
With
characters this ripe for humor, the musical takes a no-holds barred
attack of the subject matter. Clever gimmicks like the use of sock
puppet octuplets (socktuplets!) singing as a chorus and a cardboard
cutout action figure of Miss Jolie, Octo’s obsession, play up the
humor. Still in development, the creative team, made up of Chris Voltaire (book, lyrics and director), Rachael Lawrence (music and musical direction) and Dean McFlicker
(musical staging), is bravely exploring the continuing saga of a woman
the public just can’t get enough of. Further real-life antics are sure
to end up on stage, and if the real Octo’s story is any indication, the
show will have a long shelf life.
Leading the energetic cast is the vivacious Molly McCook, quite an effective look-a-like in the title role, and yes, she’s got the Octo “pout” down. Dinora Wolcott
(Real) provides the through line for the show, singing with attitude
and slyly commenting on the action as it unfolds. In the role of
Bernie, John Combs is a commanding presence, and is especially comical when paired with Blake Hogue (Ponzi) in a wonderfully smarmy vaudeville number.
Making up the rest of the ensemble cast are Voltaire, as Octo’s maniacal doctor, Lynnette Li (Octo’s mom), Alexandra Holtzman (Angelina) and Stu Barron (Paulzon)…each playing several roles in addition to their main character…all of them slightly “bent.”