The Producers

I have to say that I have never really been a fan of the show “The Producers” which was originally a 1968 film of the same name before being adapted for the stage by its creator and writer Mel Brooks in 2001, although happily I have been able to appreciate the quality and hard work put into all the productions I have seen. However I am very pleased to say that this latest production from St Pauls Players has changed my mind completely because I have now seen this show in a new light, as this was a brilliant very funny evenings entertainment and the cast more than deserved the standing ovation they received from the audience on the night I attended.The story is a comical yet cynical observation of the ambitious and, exploitative side of the entertainment business and revolves around two theatre producers, Max Bialystock and Leo Bloom who  realise they can make a great deal of money by deliberately staging a very bad musical which only lasts for the opening night on Broadway, they then plan to abscond  to Brazil with any monies leftover, so the show must be a guaranteed disaster. To make sure the show is terrible they set out in search of the most dreadful offensive script on offer, the worst Director on Broadway and the most untalented cast they can find, the result is an over the top song and dance romp  staring Adolf Hitler and Eva Braun set at his home The Eagles Nest in Berchtesgaden called “Springtime for Hitler” written by, pigeon-fancier  and lederhosen wearer Franz Liebkind.

The script of The Producers is said to tread the thin line of political correctness, especially these days with the  advent of the “MeTo” movement and some might think that Adolf Hitler singing and dancing could be uncomfortable and  offensive, but I have to say this production was really hilarious and professionally performed  while at the same time making fun of a narcissistic, despotic dictator.This show fits- in with Mel Brooks' ethos of making "terrible things entertaining" and in this instance the audience appeared to fully appreciate the context of the story, 

With well planned and built scenery which made optimal use of the stage area and with appropriate props a well organised  stage crew led by Stage Managers Stephen Blundell and Sam Heyes who facilitated smooth and fast transitions between scenes so the pace of the show was spot on, and along with very good technical input and effective well thought out costumes  added to the success and authenticity of the show.
 Director Dave Moloney along with Producer Phil Armstrong and Musical Director Lauren Mulholland must have put a great deal of thought and hard work into getting what they wanted and planned from the outstanding cast who worked together as a team with no weak links. All the actors suited their roles and were spot on with their characterisations producing wonderful entertaining performances. They included a brilliant interpretation with excellent comic timing from Mike Wignall as Max Bialystock, an over the top failing Broadway producer who raises money for his shows by seducing old ladies, giving them pet names such as Hold Me- Touch Me, he was really well complimented by a splendid performance from Jack Corrigan in the role of Max’s partner and sidekick the timid accountant Leo Bloom, they made a very entertaining double act. They meet when Leo arrives to audit Max’s books for the Internal Revenue Service and suddenly realizes that money can be made by producing a Broadway flop. Then there is ‘ex’-Nazi storm trooper Franz Liebkind, writer of the script for “Springtime for Hitler” wonderfully and very comically played by Chris Whitehead. Max and Leo are joined by Scandinavian beauty Ulla delightfully played by Ashley Cassidy who gave a powerful delivery of "When You Got It, Flaunt It", and she also had a respectable Swedish accent. Max and Leo make her their assistant after seeing her audition for the show and they both fall under her spell which causes some problems later in the story when she favors Leo. The performances of Tom Townsend as flamboyant  over the top theatre Director Roger De Bris and Joe Cunliffe as his assistant Carmen Ghia provided some wonderful true comic highlights especially during Rogers unexpected performance as Adolf Hitler which is one of the many memorable moments of the production, I also loved the way Joe walked in his high heeled shoes which caused quite a bit of laughter in the audience. The principle characters were well supported by the cast in the cameo roles and by the ensemble who sang very well and produced several very funny individual characters of their own. I would like to mention the Usherettes, Hold Me- Touch Me and Roger’s entourage. Dialogue was clear and could be followed easily, American and other Accents were spot on and maintained throughout the show. The show's dancing scenes were very enjoyable with  good Choreography that was right for the production, especially noted during the slick and well performed iconic Zimmer frame routine. The cast were also supported by a small live orchestra who played excellently at just the right level.
 I understand that the rehearsal period for this show was only about eight weeks, so to produce a show of this standard must have taken hard work and dedication. Congratulations to all involved in this very entertaining outstanding production which the audience appeared to enjoy very much, thank you for inviting us we had a great time.

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