The Producers

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Nervous accountant Leo Bloom, secretly dreams of becoming a producer, is sent by his boss to audit the books of once King of Broadway. ‘Funny Boy’ was a terrible flop, but Max Bialystock vows to return. Together they scheme to get rich quick by overselling interests in another flop. They need the worst play, the worst director, to raise two million dollars from sponsors (old ladies requiring sexual favours) hire the worst actors, open on Broadway, close quickly, take the money and run!  Complications arise when it instantly becomes a success. Humour includes wonderful accents, caricatures of queens and Nazis and theatrical in-jokes on meeting characters – Ulla Inga Hansen Benson Yansen etc.etc., Roger De Bris his ‘common law assistant’ Carmen Ghia, Hold Me Touch Me (one of the little old ladies) and Franz Liebkind.  Franz breaks his leg on opening night and director Roger takes over.  He is so bad the audience mistake it for satire and it’s a huge success. Franz tries to shoot everyone, breaks his other leg trying to escape, Roger and Carmen hide, the police ensue, Leo runs off with Ulla and Max is sent to jail. Leo now married to Ulla returns pleading Max’s case. They get five years and together write a new musical. Pardoned by the Governor Leo and Max do become the Kings of Broadway and walk off into the sunset.
An easy readable comprehensive A5 programme - with pigeon theme running through was devised by Lee Hatcher.
The 12 piece orchestra played back stage with Andrew Witham as MD. Strong, quality singing throughout from principals and ensemble, with dance routines set by Rachel including tapping – from dancers and zimmer frame operators!
Set designers Dennis Russell and Maurice Wilkins together with the large team built the opening theatre frontage, Producer’s office that Ulla redecorated and smartened up, Roger’s East-Side pink townhouse interior, corner downstage prison cell and the fabulous pigeon coop opposite. A little too much light for some scene changes but otherwise the stage and prop movement was managed well by the stage crew.
Smart usherettes in red for opening, simplicity of black and shades for the accountants office, amazing look for Roger, a frock, blond wig and high heels! Perfect. Ulla looked delightful and the Nazis uniforms excellent, as was Franz’s lederhosen, and ‘Springtime for Hitler’ models with the beer steins, frankfurter, swastikas etc. Well done to the wardrobe ladies Sharon Pickles and Rita Wilkins.
With numerous radio mikes, lighting/sound cues to manage Penny Tobin did a grand job, with a nail biting situation when James’s mike decided to pack up soon overcome.  Script and lyrics came across loud and clear.
This theatrical challenge was led superbly by James Hanaway as Max – very moving rendition of ‘Betrayed’ most ably supported by talented newcomer Will Stewart as Leo.  Huge amounts of script, powerful and emotional lyrics, fast movement, together with humour was knitted together enthusiastically by young Director Jack Davidson assisted by Laura Larkin.  Jack himself appeared in Roger’s Team wearing some wonderful costumes including Indian chief’s feathers plus enormous codpiece! Rehearsals must have been tremendous fun and this showed – snappy, crisp and funny. A very good comedy role of booted (jack or plaster) - Franz was well portrayed by Jez Druce particularly ‘In Old Bavaria’ with his dancing pigeons a coo! Cranbrookian student Ruby Russell gave a splendid Ulla, with a convincing Swedish accent. Experienced Keith Hedley camped up Roger De Bois assisted by Geoff King as Carmen, whilst Wendy Thomas enjoyed her romp as ‘Hold Me Touch Me’.  Other cameo roles and ensemble work were well constructed and supportive.

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