What happens when one decides to make a parody of a long-established and beloved mockumentary by turning it even further on its head into a full-blown musical comedy? If you’re the famously industrious writing team of Bob and Tobly McSmith (co-creators of 10 musical parodies of popular TV series in 15 years) and now featuring Assaf Gleizner music and orchestrations, what happens is you’ve got another major hit on your hands!
For what could be more original and insanely hilarious than beloved, Emmy Award-winning sitcom The Office? A master-mad-mind creation of Ricky Gervais and Stephen Merchant, the series ran for two years in the UK before Greg Daniels adapted it for American audiences at NBC. Where it ran for nine seasons (from 2005-2013), gathering a fanatic fan base that not only survives to this day but appears to be growing in numbers and intensity.
McSmiths’ THE OFFICE! A MUSICAL PARODY enjoyed a popular, seven-year off-Broadway run (from 2018 to March 2026) and famously was the first musical to return to live performances in NYC post-Covid. Audiences just couldn’t wait to get back to this zany office and their special happy place! And now, we in South Florida – thanks to the recent debut of Broward Center for the Performing Art’s Broward Off Center Series: Not Your Average Night Out – can revel in the insanity of what passes for a day at the office with “The Dundies” of Dunder Mifflin Paper Company, in Scranton, PA. But not for long. The Office! A Musical Parody is playing at the Abdo New River Room only through Sunday, May 3.
This musical represents the year’s final, and most elaborate, offering by the new Broward Off Center series – produced in-house with a vision of pushing the boundaries of popular entertainment. As described by Broward Center’s marketing manager Keith Hinson: “We’re excited to launch Broward Off Center as a space where comedy, creativity and unpredictability collide. This series gives audiences a chance to experience something immersive and refreshingly different. It’s a place where they can expect the unexpected and leave laughing.”
My Saturday matinee visit certainly fulfilled the series criteria… and then some! We were instantly “immersed” in the mayhem when actors addressed us from the stage as if we were their electrical tech crew – positioning lights and mics for office workers to be “Real Housewife”- style filmed and interviewed as they go about their day. (Props to the show’s lighting designer Katie Chai.) And, in effect, setting up the show’s premise for anyone too young or oblivious to have been exposed to this iconic sitcom.
Because the musical parody features highlights of favorite episodes and quickly introduces “coming in late to work” primary characters, it’s an instant treat for diehard fans who can’t contain their enthusiasm. Making them one of the most boisterously appreciative (in laughter, cheers, and applause) audiences I’ve ever been a part of. And their joyous enthusiasm is contagious! Because even if you haven’t a clue who the actors onstage personified on TV, you quickly catch on to their over-the-top personalities and can’t help but be wowed by their physical antics and insane, hilariously inappropriate office behavior. Also, despite action that’s completely blown out of proportion (typical of all great comedies and parodies), the show still manages to remind us of past or present real-life office situations.
I don’t know how director Suzanne Dunn managed to keep up with all the mayhem both on- and off-stage (because the actors not only run along aisles, you might find one jumping onto a chair in front of you or shaking your hand while personally introducing themselves mid-show … if not pulling you up to join them in a dance or showering you with leaflets). But Dunn did manage, perfectly, as did stage manager Kimmie Harvey, who kept everything under control so that actors only took tumbles when they were supposed to! (And kept their wigs on, courtesy of Jill Williams costume & wig design, while zooming about an office set up by scenic designer Cindi Taylor and scenic builder Alex Fine.)
And then adding a lyrically beautiful and comedically heightened accent to the action were all those striking musical numbers that mirrored the scenes and elevated characters’ inner thoughts. (As is the case in any contemporary musical, though here, too, the songs sometimes parodied famous Broadway showtunes. Hamilton’s hip-hop beat in “Not Gonna Close This Shop” is but one striking example.) All the many musical numbers were presented like clockwork as well, thanks to music director Eric Alsford and choreographer Brittany Jenkins.
Playing Steve Carell’s iconic TV character of Dunder Mifflin Regional Manager Michael Scott – to the hilt, and then some – is the incredible Danny Distasio. Distasio not only moves and talks and shouts nonstop nonsense in his zeal to create a heightened fun and laugh-laden atmosphere at the office while being inappropriately handsy with everyone (though forgiven for his cluelessly benign intent), he’s also practically an acrobat! We first meet boss Michael as he leaps and summersaults onto the stage; he frequently continues with hand-over-head spins and jumping on and over chairs throughout the show.
But Michael, too, is a late-to-work arrival. The first character we actually lay eyes on is formally attired, briefcase-toting, nervous and geeky sales rep, Dwight. The “assistant regional manager” as he calls himself, compared to Michael’s preference for “Assistant to the Regional Manager.” (Of course, arguments ensue regarding his actual, made-up title. Though it does provide the perfect excuse for a rousing “Assistant to the Regional Manager” ensemble number. Quinn Doyle absolutely slays the role of Dwight Schrute with his often agitated and hyper-energetic delivery.
Despite being the butt of office pranks and constantly at the beck and call of his crazy boss, Dwight’s no typical weak nerd. In this office, he’s also the Boy Toy of straightlaced, outwardly religious Angela (Christina Santi) from accounting for stolen, 30-minute sexual trysts in the supply closet. And Dwight harbors fantasies of being head man in the office when his boss is out of town; his ultimate life’s goal. A true Dunderhead believer who enthusiastically joins in Act 1’s opening musical numbers, “Welcome to Scranton,” and “We Have Fun Here,” featuring The Office cast.
everyone in The Office gets a trophy … for something!
Though Angela Martin is her primary role, like many secondary characters, Santi also embodies a variety of more temporary visitors to the stage: Jan Levinson, Ryan the Temp, and Holly Flax. All I can say is, especially when playing a “hit upon” cute young Temp (who even gets his own song in, “Such a Hot and Sexy Temp”), I didn’t recognize her until reading her bio credits. She performed just as well in all of her four very different roles.
Typical of an office where everyone arrives late, the phone rings and rings until it’s finally picked up by longtime receptionist Pam Beasly, a definite audience favorite, sensitively portrayed by Mallory Elaine Flory. She later switches hairdos to become Erin Hannon, the cheerful and naive receptionist who arrives after Pam briefly joins Michael’s new paper company. Ironically, Erin’s romantic interest is once again played by Tanner Fults (who you’ll read about, as Jim, next, but now assumes the role of Andy Bernard). Jim and Andy can’t help looking quite similar but at least we get to enjoy Flory’s vocals in her Act 2 solo, “The Breakable Erin Hannon.”
While technically engaged to warehouse worker Roy (T.J. Black who also portrays all these characters with distinction – Toby Flenderson, Creed, Bratton, Mose, Hunter, and Todd Packer), Pam is forever romantically linked to witty salesman and incorrigible practical joker, Jim Halpert. Tanner Fults totally owns the role of Jim (joining Michael and Dwight to form the third supporting leg of primary male actors onstage). He’s completely convincing when he later assumes the persona of Andy Bernard, as well.
Only on television can light flirtation and unconsummated romantic longing linger for nine years. Happily, we get to witness the entire arc of Jim & Pam’s relationship – from ongoing fond attraction, singing “Sweet Little Moments” #1, #2 and #3 to finally! A real marriage proposal in “Marry Me Beesly” – all within the briskly-paced, circa two-hour (with one intermission) show.
Other memorable characters include middle-aged, overweight and incorrigible slut Phyllis Vance, embraced in all her shocking splendor by Anna Russell. [PLEASE NOTE: Due to lots of off-color humor and, though mostly clothed, graphic depictions of sex positions that go way beyond innuendo, this one is more suitable for adults, than kids.]
Multi-talented Anna Russell also goes on to portray “I’ve Got Chili” Kevin Malone, Meredith Palmer, and Kathy Bates. Russell keeps us in a constant state of shocked amusement by her depraved shenanigans – though when admonished for her outlandish behavior by fellow office workers, she points to a self-help book she’s studying on BDSM erotica. She’ll delight us with an assertive executive “Kathy Bates” solo. While in her role as reckless Meredith, she’s included in the “Nasty” number.
At Michael Scott’s Paper Company “Fun Run” Race for the Cure and to Celebrate Rabies Awareness, we’re introduced to Stacy The Rabid Bat, played by striking and generally sardonic (as in “being unnecessary”) Dayana Morales who also takes a turn performing as Mindy Kaling, Oscar Martinez (what’s with all these women in “men’s clothing”??), and Karen Filipelli. While Allie Woodside continually impresses with her completely believable male roles of Stanley Hudson and Darryl Philbin.
