The Producers

It’s outrageous, politically incorrect and probably offensive to residents of several countries and beliefs but the stage musical version of Mel Brooks’ comedy movie ‘The Producers’ is a jaw-aching laugh-a-minute, irreverent and often barmy two-and-a-half hours of - we’re being naughty but who gives a crap - entertainment.

The 1968 film of the same name quickly became a cult classic, and the decision to turn it into an all-singing, all-dancing glitzy musical raised several eyebrows but ultimately paid off, taking Broadway by storm in 2001, transferring to the West End in 2004, and being made into a movie in 2005 (thus becoming a movie based on a musical based on a movie about a musical!).

There can be few unfamiliar with the brilliant premise of this book: two producers come up with a cunning ‘get rich quick’ scheme involving the staging of a huge flop (worst play, worst actors, worst director, and plenty of wealthy little old ladies as backers) – but the hoped for disaster becomes an unexpected hit – It’s so bad it’s genius! (If only it were that easy in the real world!)

Robert Margolis, this shows Director, remains more faithful to the book than I’ve ever seen from any of his productions before, allowing the piece to resonate (for the best part) as intended and also giving room for his players to pay humble salute to the greats who’ve originated these roles before them whilst (and most importantly) allowing each player to add a glimpse of their own flavour to their portrayals too.

This piece is fast moving, and rightly so, with each scene delivered at the perfect rhythm, never are we left waiting for a cloth to fly in or a piece of set to be positioned which is no easy task for this show and its cruel structure.

The crew were drilled to perfection almost as if they were choreographed dancers for those (could be horrific) scene changes.   

We had the pleasure of a glorious orchestra under the direction of David Wilson providing solid accompaniment for every show stopping number with an air of Broadway charm and excitement. A marvellous sound.

Jeremy Kay’s performance as Max Bialystock (a role which is surely like being asked to carry out the Labours of Hercules every evening) was mighty, no question about it. I would have favoured seeing a little of his own flavour, taking lead from his fellow performers who all brought their own touches and accentuations to their roles, we got a Nathan Lane imitation here and to quite a degree. I have no doubt that Jeremy was highly influenced by Lane (well, who wouldn’t be!?) but some of his own personalisation into his performance would have been most welcome. He’s impish and energetic as the seasoned King of Broadway and his sense of fun and unflagging vitality make him a lovable rogue, whether toying with the affections of demanding old ladies or reminiscing about the show’s story while sitting in a prison cell.

As Leo Bloom, the nervous accountant who dreams of being in show business, Dean Simons is quite splendid demonstrating a little fancy footwork and eminent acting talent in a role which can translate as being overly pathetic he becomes a caricature, not here! His character growing in confidence as the show develops demonstrated a grounded knowledge as an actor.

Howard Yaffe surprised as the flamboyant (and dreadful) Broadway director Roger De Bris, sparkling in “Keep It Gay” and triumphing in the second act when he has to step into the title role of the planned flop “Springtime for Hitler.” His hymn of self praise, “Heil Myself,” couldn’t be Mein Camper and was portrayed with the right balance. He is aided and abetted by a way over the top Michael Shneck as Carmen Ghia, who was positively awkward and a little insulting in his demonstration of what a gay man is like, though not necessarily his fault as the role was originated in the 1960’s – a time when this image of how ‘gays’ behave was comical, which has quickly become dated and frankly quite tasteless. In a show which pokes fun at the vilest man to walk the earth, to then poke fun (in the same nature) at homosexuality makes me somewhat uncomfortable in this day and age.

A drawback with staging this show in the amateur scene is the lack of female principals on offer, it’s another ‘Jesus Christ Superstar’ with only the one female part up for grabs. Debbie Hilton offered all her triple threat abilities to the table with her rendition of Ulla, also presenting a rather difficult accent to articulate and maintain. A sterling job.  

The choreography, like everything else within this show offers no room for cutting corners. This responsibility was taken on by Martin Robinson who treated us to some nice sequences, I particularly enjoyed the tap during the show-within-the-show. It would be worthwhile, to aid with the presentation of the choreography, to give a lesson or two for the girls to demonstrate how to hold their posture when performing, and wake those faces up! This is a parody of classic Broadway so those faces should be glowing with sparkling eyes and teeth.  

The technical team must be congratulated for their work on this production with an impressive lighting design and skilled sound team which aided this show to appear as stylish as possible in areas which often, and can so easily, let the quality of a production down.

There were, evidently, some inexperienced performers in this production - which is not to be taken as a negative comment but a commendable one. We had principal players who were making their stage debut as well as members within the ensemble which can make the process a little challenging to work with people not familiar with this craft but no one can say that each principal character didn’t hold their own.

No other societies in this NODA district has the level of supportive audiences that the Jewish societies get. No refined British stereotypes here, these audiences can’t wait to jump to their feet and rapture in applause. I’d never discourage encouragement (ever!) but to ovate a theatrical performance, my opinion of course, should be a rare occurrence.

JTC - you should be immensely proud, you have a happy audience following and that’s all that matters, right? Of course right! 

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