The Producers

As they say in amateur theatre - the curtain was beginning to fall on my spell as the NODA Regional Representative for Area 4 North. I had decided it was time for someone new to take the role forward and so, come New Year’s Eve, my work would be done. The relevance of this is only that it was uppermost in my mind that this might be my last official visit to see the Dereham Theatre Company and, as I took my seat in the spectacular Memorial Hall, I was as honoured to be there this night as I had been the very first time they asked me. That first engagement back in 2011  had been a pantomime, and this time (by a lot less on a contrast than you might first think) it was Mel Brooks’s (and Thomas Meehan’s) camp, Jewish and extremely surreal comedy ‘The Producers’.

This title had been reincarnated a few (quite a few now) years ago from the film of the same name starring Zero Mostel and Gene Wilder and had stormed Broadway and the West End alike. In the style of “Allo Allo ( .. and by that, I mean the film probably inspired the style of Allo Allo”) it is equally offensive to everyone … leaving no minority group without insult and ridicule or racial stereotype. Only a prominent Jewish celebrity could have got away with it and they don’t come any more prominent .. or indeed talented than Mel Brooks. In the course of what is most certainly a completely wacky two hours we meet struggling theatrical producer, Max Bialystock who hijacks an abstract observation from young accountant, Leo Bloom that you could make more from a Broadway flop than from a hit. The legalities of the proposition prove to be an issue as Bialystock sleeps his way around the grey Dollar of New York and we are introduced to Franz Liebkind the Neo Nazi playwright, Roger De Bris a car crash of a Director and Ulla …. there are no words! What can I say, it goes well, it goes badly, it …… really doesn’t matter. It was all very silly and extremely good fun.

Without letting it become more important than it should be, I must mention the incredible video backdrops used in this show. The whole of the back wall of the stage was a digital screen. Now regulars here will already know about the video wall that Dereham own, but this was not that. This was a single seamless LED screen that allowed infinite possibilities with scenery. It was breath-taking even ….. and I hesitate for fear of being accused of “damning with faint praise”  … even if the actual graphics (Scenic Projects - bought in) didn’t really float my boat. Sound and light (ETS - bought in and operated by some familiar, and extremely pleasant technicians) was everything it needed to be. That is a massive compliment make no mistake as I didn’t notice any of it … perfect! Physical scenery (Scenic Project - bought in) were just the job and hair and make-up (design by Sophie Blanks and execution by Natsha Wilson-Gotobed, Sammy Blanks and Kara Field) could not be faulted. A quick mention for Stage Manager, Kevin Jude for a really tidy production. Which was very nearly free of any onstage backstage incursions ….it’s always nice when there are few or even none.

My prima-facie observations when considering this production would be that there were very few faces on stage I recognised, especially in the chorus. The average age was higher that usual but in many ways this was appropriate considering the composition of the characters in the big production numbers. Choreography by Danielle Standing was unspectacular but consistent with the abilities of those executing the moves. This allowed the bigger dance routines to be tidy and the chorus always looked to be together and never overstretched.

In the supporting roles…. Now I think about it there are very few supporting roles. Joseph Reed as Bryan, Matt Hartly as Kevin, Josiah Blake as Scott and Louise Mark as Shirley took the parts of the De Bris creative team and I believe Mr Reed and Mr Hartley returned as the Irish Police Department towards the end. Other than that, it was just Paul Ellingford as Mr De Bris’s ‘Personal Assistant’, Carmen Ghia. Mr  Ellingford’s contribution to this bizarre tale should not be overlooked as he had me crying with laughter every time he walked across the stage in those implausibly high shoes. A lovely characterisation that helped lift the part of Roger De Bris as well as the whole show.

In the more prominent parts the Director of Doom, Roger De Bris, was played with some style by one of Dereham’s finest actors, Lee Johnson. I had missed ‘Priscilla Queen of the Desert’ but had heard that Mr Johnson had taken the lead. He told me afterwards it had been quite a surprise for a man “who cannot sing” - his words not mine - and I did think he was being a little hard on himself. I will concede that Mr Johnson is not a natural singer but, in this production, he executed his musical responsibilities most satisfactorily. In addition (and as expected) he also delivered a polished performance and a delightful characterisation. The same can also be said of Andy Lofthouse as the Neo-Nazi playwright, Franz Liebkind. He gave me plenty to laugh about throughout and the pigeon sequence was pant-wettingly funny. I would say (like Mr Johnson) Mr Lofthouse is not at his most comfortable when singing and this showed. Although his voice was accurate enough, he and the score drifted apart from time to time. None the less, a cracking performance from a quality performer.

I know nothing of Laura Marvell-James. That means one of the following: she is new to Dereham; she has never taken a large part before … or age-related degeneration has dulled my memory. If it is the latter I apologise unreservedly. Mrs Marvell-James was older than the Ulla’s I have seen before, and whilst this was noteworthy on her entrance it made no difference whatsoever as her performance progressed. She was funny, very disciplined with the script and songs, extremely sexy … and could dance a bit too. In short everything I would ask from anyone attempting this part.

Michael Stoker is not a new face at Dereham. I think I last saw him in ‘Rock of Ages’ .. and remember him well as Jesus in ‘JC Superstar’. As timid but aspirational Leo Bloom, Mr Stoker was the ideal antidote to Lee Chapman’s Max Bialystock. Confident with his words and moves he was the perfect straight man.

I remember Lee Chapman from numerous previous productions, but never in such a leading role. I had heard he had auditioned against some of the more established Dereham talent and seen off all-comers (no names, no pack drill) what can I say? No really! At this point I can’t easily find the words but can best quantify Mr Chapman’s performance by saying (controversially perhaps) he was half the show! A mind blowingly brilliant performance that (in my very humble) opinion could have transferred to the West End for the next performance. Pace, timing and a deep-seated understanding of the source material made this the best performance by a leading man I have seen (anywhere) this year. His delivery was flawless, and his body and facial acting was ceaseless, adding an extra chuckle to every laugh that was put in the script for him. He did have a few run-ins with the timing on his songs, but I was so busy watching him work, I barely noticed them. Lee (Elizabeth) Chapman … that was three paces beyond brilliant.

Ben Francis is a long-standing acquaintance (I don’t have any friends… for obvious reasons). He is a pretty fair actor, and an accomplished director. His presentation of ‘Phantom of the Opera’ at Fakenham was the best Youth Production I have ever seen. I disliked the show … but still loved the production. I have been told that his ‘Priscilla Queen of the Desert’ here was spectacular, although I didn’t see it myself. My compliments to him for this production of ‘The Producers’ - as a technical piece of direction I can’t think of a single criticism. Thanks to a virtuoso performance by Lee Chapman this silliest of shows was perfectly cranked up to 98% on the crazy-ometre. For the record ‘The Producers’ is probably barely in my top ten of favourites and I know how it polarises opinion. High comedy is not really my thing, but I love ‘Spamalot’, and I like this one too. My hat is completely off to Musical Director, Helen Cowie and her disembodied 12 (!!!!!) piece orchestra. A beautiful rich sound that filled the hallowed Memorial Hall and made me feel I was at the Palladium. Musical highlights included (but were not limited to) In Old Bavaria/Der Guten Tag Hop-Clop; Keep It Gay; Along Came Bialy; Springtime For Hitler and the filibuster that was Lee Chapman’s rendition of Betrayed. I really enjoyed this production and laughed (quite loudly) from start to finish but did notice that keeping the vocal and orchestra together was a bit of an issue across nearly all the vocal talent. So much so, I wondered if the on-stage cast could hear the score well enough. A small criticism… and by no means intended as a “sting in the tail”. Congratulations Ben Francis, well done Dereham …. Bravo Lee Chapman!

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