The Producers

I approached The Producers with some trepidation as other productions I’ve seen have left this show languishing amongst my least favourites. Boy was I in for a surprise! What a spectacular, vibrant, fast-paced, slick and funny piece of theatre this was. Based on Mel Brooks’ film of the same name, only his comedy genius prevents its content offending almost every social and religious group in society.

Director Jane Pegler has assembled a mightily talented cast and must have rehearsed them to within an inch of their lives in the amazingly short ten weeks it took to stage this show. Supported by a great chorus, the principals were universally good, each making the characters their own with strong characterisation, singing and movement.

Matt Sackman looked like he was born to play Max Bialystock. The character fitted him like a glove and he brought such warmth and humour to this weasel of a man that you couldn’t help liking him and willing him to succeed. He was most ably supported by Sam Townsend as his co-conspirator Leo Bloom. A new face to me on the Portsmouth stage, he got the essence of the “innocent” accountant perfectly, right down to his walk, and with a silky smooth singing voice to boot.

Other superb performances were given by Kimberley Harvey as the clever Swedish actress wannabe masquerading as a sexy dumb blonde, Nick Williams as the deranged German, Frank Liebkind, author of the sure-fire flop show, and Steve Reading and Ed Chase as the deliciously camp, completely over the top director and choreographer, Roger De Bris and Carmen Ghia. Sadly I cannot mention everyone who impressed me, but every single character portrayed was beautifully observed and executed. Choreography was obviously well rehearsed and faultlessly performed. Singing, both choral and solo was pitch perfect.

Huge praise must go to Carole Gennings for assembling such a spectacular, colourful and, shall we say, unusual set of costumes. Together with most effective lighting, they really made the show! Similarly, I must congratulate the props and effects people for the simple but effective set (I particularly liked the pigeon loft), the very well chosen and clever images that were projected to create the scenes and where on earth, may I ask, did you find twenty Zimmer frames that didn’t still have their owners attached?! Scene changes were managed very smoothly and Jane Pegler’s decision to place action on the small side stages and floor of the theatre really paid off here, because you hardly noticed the changes happening.

The orchestra, under Alan Pring’s reliable baton, produced just the right sound and never overwhelmed the singers, thanks also to the crystal clear sound system - sadly something of a rarity these days, even in professional theatre.

As I hope you can tell, I thought this production was a real knockout, putting the professional show I saw the night before completely in the shade. It proves that strong direction, a talented, well-chosen cast and a great support team can achieve just as much - and sometimes more - than a big budget and star names. Amateur theatre really can offer top class entertainment and great value for money.

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