The Producers

Bedford Marianettes are a company going places. They have a pool of talented actors, directors, choreographers and back stage crew; most of the actors being still quite young, which bodes well for the future. They are now well settled into their new home at The Trinity Arts and Leisure Centre, know how to use its limitations and maximise those limitations of their studio style layout, which I had the impression they were struggling with a couple of years ago. I was therefore very much looking forward to seeing their interpretation of this Mel Brooks classic.

The set was a static multipurpose affair with a plain cream box set walls to the rear with a recess containing double doors to serve as entrances and exits to the various scenes. The orchestra were neatly placed on a platform to the rear above the box set, leaving a large acting space to the fore. Simple, but very effective. I loved the signs above the doorway that were drawn back with a stick to reveal the various scenes, Opening Night, Bloom, etc.. Excellent job by Stage Manager Steve Ward and his crew.

Sound by Simon Barker was crystal clear, which was a pleasant change from so many musicals I have seen recently; adding proof to my earlier point that Marianettes have now mastered their environment. Lighting by Mary-Beth Sewell, operated by Jake Edward Dudley with Rebecca Gale on follow spot, produced a good wash of appropriate colours to all scenes. Both sound and lighting cues were pretty much spot on at all times. A crew very much on the ball.

The costumes by Jake Edward Dudley, Tara Hutchings and Rosie Layton were very well thought out and very extensive indeed, with all the chorus numbers very elaborate and oh so Broadway! Not to mention the old ladies all in those head scarfs. And as for the drag outfit worn by Roger, fab off the shoulder number, what can I say darling! I also loved the whole cast in Sing Sing outfits for the final number. The costume department certainly put the glitter into this production. Some of the changes must have been manic back stage!

The star of the show has to be the props department by the same team as above, there were so many brilliantly thought out little touches that raised this musical comedy above the ordinary: the giant props to signify German cuisine, the bratwurst, the pretzel, the beer mugs, Vijay wearing a German tank that was the funniest phallic symbol ever! And best of all the pigeon loft with the realistic but comedic pigeons. Whether this was down to the set builders or the props department, that was pure comedy genius! The audience in my row were reaching for the tissues they were laughing so much. My only complaint, why the pathetic note books for the accounts, with such an important property these should have been proper ledgers, surely?

The band under the direction of Leigh Smith were once again exemplary, a very tight outfit and just the right volume as well. You’d have difficulty finding a better band in The West End.

Jake Edward Dudley and Tara Hutchings, our joint directors obviously have a way above average vision and knew how to follow it through with a passion and energy that was breathless to watch. This, being a Mel Brooks written show is first and foremost a comedy and boy if there was a comedic moment to be had these two squeezed every last ounce out of it. I don’t think I stopped smiling or laughing out loud from beginning to end. Add to that Tara Hutchings brilliant and sometimes quirky choreography and suddenly you have something very slick indeed. The dancers were extremely well drilled with some complex routines and again all the numbers choregraphed with lots of comedic touches added. Even the sex scene behind the sofa between Leo and Ulla was superbly choreographed, with the comedic leg movements and the little old lady popping up in the middle. A pure joy to watch!

Charles Mills, a man I last saw smoking a pipe whilst wearing Gannex and a pair of underpants, can handle comedy with a vengeance and here as Max Bialystock he carried this show with a masterly performance.  Facial expressions, line delivery, timing and not to forget a wonderful singing voice. Quite simply a brilliantly delivered piece of work.

Kevin Long as Leo Bloom was the perfect straight man to Mills’ Bialystock. I’ve seen this part played a few times and most actors rely on the physical to show the down trodden Bloom. But not Long, he was much subtler and used a far more extensive locker. His comedy timing, his superb singing voice, subtly of expression and his demeanour served to show an underdog longing to get out. But it was as a comedy duo the two of them were at their best. My ribs still hurt at the thought.

Rachel Allen as Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson the opportunist Swedish actress/secretary wasn’t short of comedic expression either. Just the way she pronounced her own name made you smile.

Just when you thought the comedy had reached maximum, along comes Matt Belsom as Franz Liebkhind, who really did milk the part of the Nazi Playwright to perfection! Who will forget that scene with that outrageous pigeon loft! He even stayed in character when taking his bow or should I say salute. Definitely a standout performance to stick in the memory for a long time.

Oliver Lewis as the transvestite Roger DeBris, was fantastically believable, and far too comfortable in those high heels. I know ladies who can’t walk that well! Josh Heard as Carmen Ghia added the icing on the camp cake, the pair of them camping it up to maximum effect as perfectly demonstrated in ‘Keep it gay.’

When we entered the theatre, we were greeted by the two lovely Usherettes, Laura Dorsett and Molly McCarthy who also opened the show with a powerful rendition of ‘Opening Night,’ before being swept away as the tour de force that was this ensemble poured onto the stage. It certainly set the scene.

Of the ensemble a special mention to Mark Burnapp as Stormtrooper, the man charged with the pressure of carrying the one number everybody has come to see, ‘Springtime for Hitler.’ No worries here, it certainly lived up to all expectations. The rest of the ensemble, Rosie Layton, Dan Shaw, Alex Wilmott, Sarah Benjamin, Charlotte Hutchings, Cheryll Wilson, Shannon Wilmot and Vijay Puri-Whitmore playing the various minor roles with perfect timing and some super numbers which were all fabulous to watch. This was quite simply a very confident, well-rehearsed cast obviously enjoying what was a class production.

My other half had only seen this show once before, didn’t enjoy it and wasn’t really looking forward to seeing it again. Now having seen this production she can’t stop talking about it. I think that sums up all you need to know!

Well done Marianettes, a company on top of its game producing first class shows playing to packed houses. It doesn’t really get better than that!  

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