The Producers

This is my first visit to The Shenfield Operatic Society and what an impressive venue. The programme is glossy and gives a great introduction the company and the show. The rehearsal photographs were a great addition; The Chair’s Letter, Director’s notes and the cast biographies left me with no doubt that I was about to enjoy what I saw.  I was also very interested to see how this elaborate production was funded.

I have not seen The Producers before, but it’s always been on my wish list. I am happy to report that I was not disappointed, and I left the theatre with a smile after being thoroughly entertained.

Upon entering the auditorium, I was impressed by the stylised set, and as the show began and the music swelled, I knew I was in for a treat. The Usherettes played by Jo Hunt and Katie Smith gave a strong performance in the opening number and were joined my Max Bialystock, played by Martin Harris and the rest of the company. The choreography was slick, the vista was colourful, and the stage was used to its full extent. I noticed the varied costumes, wigs and a good range of performers.

During the following scenes we learn that Max Bialystock enlists the help of Leo Bloom, played by Jamie Fudge, to produce a show that will be a flop in order to pocket the huge amount of cash that Max extracts from rich old ladies with names like Hold Me-Touch Me, Lick Me-Bite Me and Kiss Me- Feel Me who all believe themselves to be his only interest! Jamie, as Leo, displays a sweet character who has aspirations to be a producer so, instead of declaring Max bankrupt he sparks the idea that failure could actually lead to riches. I particularly enjoyed Leo’s relationship to his little blue comfort blanket. Whenever he had a panic, out came his blanket. Well done Jamie your character was clear and maintained brilliantly throughout.

Martin and Jamie are strong performers, very talented vocally and entertaining watch. Their rendition of ‘We can do it’ solidified their partnership which was essential to the resolution of the plot later in the show.

I particularly enjoyed the depiction of the offices of Whitehall and Marks. The set was visually striking, and the soloist, Bob Southgate, had a voice fitting with the a ‘slavish’ workplace. In this scene, as in many others, the performance of the chorus was strong and added richness to the production. The doors of the filing cabinets flew open and out poured the glorious Chorus girls as Leo had his ‘epiphany’ and decided this boring life was not for him and he was going to join Max as a Producer. The hunt is now on for the ‘worst script, the worst director and the worst cast’.

Away from the events at Max Bialystock’s offices we meet The fabulous Jon Keeler as Franz Liebkind on a rooftop. In this hilarious scene we meet ‘our playwright’ a fervent Nazi sympathiser, who with his pigeons and his helmet add yet another layer to our enjoyment. Despite the fact that political correctness means we should dislike him, I loved him and looked forward to his every appearance on stage. The choice of play is decided as Max and Leo join Franz to sing Adolf Elizabeth Hitler’s favourite song ‘Der Guten Tag Hop Clop.’

So, with the choice of play in the bag Max and Leo set up office, employ the beautiful Ulla as their assistant and promise her a part in the forthcoming production. I understand this part is usually played by a very tall Swedish woman but in this instance, we are introduced to the diminutive Kelly Warran who played the part wonderfully. With her great voice and a cheeky demeanour, she was later to steal the heart of Leo. Kelly was the only leading female part in this play and like most other roles in this play, she played a stereotypical character. Kelly managed to shine with her voice, movement and expression.

Next Max and Leo need to enlist the help of the worst director and we are treated to the delights of the pink home of Roger de Bris. On entering the home, we meet Roger’s common law assistant, Carmen Ghia played by Alli Smith. He is a brilliant caricature of an artistic assistant and heads Roger’s entourage all of whom add to the team around Roger. Alli looks and sounds amazing, his style is camp and at this point it is hard to think anyone will ‘out camp’ him but then we meet Roger De Bris himself. Simon Bristoe enters, and not only does he have a fabulous voice, his stage presence is extraordinary. I will never forget the vision of Simon dressed as Hitler set against the lights at the top of the staircase when ‘Springtime for Hitler’ finally hits the stage. I am not sure how his body contorted into the shapes it did, but I really enjoyed his performance.

So, by the interval we had met the cast.  Max is wooing his investors and the curtain fell on the hilarious and brilliantly choreographed vision of a chorus of little old Ladies dancing with their Zimmer frames.

Act two had a lot to live up to and I thought the pace dropped a little. I thought maybe the cast were tired but as the Act continued, I realised this was not the case. There continued to be many moments of comic genius and visual treats. As the auditions begin and Jason - (Jason Markham who also plays Kevin and the judge well) - tries out for Hitler, Franz pushes him aside to steal the part. Having broken his leg on opening night Franz has to let Roger take the title role in his play and despite their best efforts the potential epic flop is deemed a smash hit!

‘Springtime for Hitler’ begins with a colourful tableau of Bavarian dancers and then a stormtrooper sings the title song. I had noticed Thomas Stansfield during the show, a tall figure and a very good addition to many scenes. In the Accountants scene and as the Genie in Roger’s entourage he was noticeable with a good stage presence. I thought the song, ‘Springtime for Hitler’ a little forced, perhaps a little high for him, but I can see great potential in this young performer.

When you enjoy a performance so much it is hard to find fault but there were a few technical hitches that could have been fixed. I thought there were a few microphone pick-ups that were missed, and it was a shame that performers who had obviously worked so hard were not heard by the audience to their full extent. Also Franz’s gun shots were late and not loud enough. I found the lighting an issue because there were a few scenes when we could not see the principal actors. This was particularly apparent when Ulla and Leo sang ‘That Face’.  Sound and choreography were spoiled by poor lighting. Occasionally, I noticed the odd pause between dialogue and songs, but that did not detract from my overall enjoyment.

So, back to the show! After the triumph of Roger De Bris’ Hitler the show is declared a hit and all hell breaks loose in Max and Leo’s office. While Leo and Max fight over the books Carmen and Roger arrive, Franz is livid that his beloved Hitler has been portrayed in such an outrageous manner and enters with his pistol. The police storm in while Leo hides. Max is arrested as is Franz who breaks his other leg trying to escape. When Ulla finds Leo she persuades him to take the money and run away to Rio with her.

When Max is in prison, he gets a postcard from Leo. Martin Harris rendition of ‘Betrayed’ was brilliant. He recounts the whole show in one song. I felt like I held my breath the whole way through thinking he must take a pause soon but his performance, in my opinion was faultless.

The Courtroom scene sees a reconciliation when the repentant Leo returns from Rio, now married to Ulla to return the money and save his partner. The judge takes pity on the pair but instead of freedom they get sent to Sing-Sing together. The pair write ‘Prisoners of Love’ and are pardoned by the Governor as it becomes a Broadway smash.

The stage is transformed by show titles up in lights, signifying the success of the partnership and ends with the iconic scene of the silhouettes of Max and Leo as the Company sing ‘Goodbye.’

On the whole I really enjoyed Shenfield Operatic Society’s The Producers. I wish I could mention everyone by name but being new to my role as a reviewer I feel I need to get to know the company better. It is obviously an experienced and hard-working company and one I look forward to seeing again. Thank you so much for the invitation.

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