Octomom the Musical

What Reviewers are Saying:

Kayte Deioma, About.com Guide to Los Angeles

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.

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.”