The revival of Mel Brooks’s musical feels really timely, offering a comedic relief that we could all use at this time.
In the programme interview between director Patrick Marber and Mel Brooks, there is a wonderful quote in which Mel Brooks proclaims that ‘comedy is always the better way to combat aggression’ and it is on strong display through the way in which The Producers handles Hitler through a wider story of two hapless Broadway producers using a flop of a show to rake in the big money.
But aside from the way in which The Producers uses comedy to diminish the power of dictatorship (which of course feels really timely), it also highlights the different aspects of love and relationships – not only between Leo and Ulla, but between every single character in different ways as well paying an affectionate if ridiculous tribute to the world of theatre and show business.
Adapted from his original 1967 film Mel Brooks collaborates with Thomas Meehan to create a musical that fizzes with energy and pizazz that sweeps the audience along on Max and Leo’s journey to create a Broadway flop of Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden with the worst actors, directors and creative team with great ease. The humour might seem offensive on the face of it, but when watching it presented, there is a consistency to the way in which it mocks everyone – literally no one is safe but never done in a cruel way, it is more absurd than anything else.
The joy of The Producers is the way that musically, Mel Brooks pays tribute to many of the classic musicals through his catchy songs (for the diserning theatre fan keep an ear out for elements of 42nd Street, Chicago and The King and I for example) – it showcases the deep love of theatre that Brooks has and reminds the audience themselves of the love and joy that theatre can give.
Director Patrick Marber (whose production was first seen at the Menier Chocolate Factory last year), enhance this further through his refreshing take on the show that is filled with delightful visual gags that ensure plenty of laughs, delighting in the fact that it is not a show that takes itself seriously. Marber really understands Brooks’s approach to comedy and bringing it to life. The iconic ‘Springtime for Hitler’ routine and ‘Keep it Gay’ routines particularly stand out. Perhaps the only thing I would say (as a very minor criticism as someone who loves the musical) is that the early moments feel too frantic not making the most of the jokes between Leo and Max – but that could have been down to the excitement of the opening night.
Marber’s production is well matched by Lorin Latarro’s choreography that brilliantly shines a light on not only the central characters but the ensemble themselves. There is a real creativeness to numbers such as ‘It’s Opening Night’ and ‘The King of Broadway’ that still plays a lovely playful homage to classic musicals – which is something that really lies at the heart of this production.
Scott Pask’s set design while is sparse initially, allows for a bit more movement and freedom on the Garrick Theatre stage than it did at the Menier Chocolate Factory, as well as having a few tricks up its sleeve, to create some fabulous showstopper moments. But it is Paul Farnsworth’s delightfully fabulous (and occasionally outrageous) costume designs that deserve plenty of plaudits – in particular, those designed for Trevor Ashley’s Roger DeBris certainly provide a wow factor. . Kudos should also be to those involved with the numerous quick changes costume wise that happen throughout! If you saw the show last year at the Menier and thought it couldn’t be elevated further – you couldn’t be more wrong!
The level of detail in every aspect visually (keep an eye for a specific statue and a certain symbol that is emblazoned on a bunch of pigeons for example ) ensures that there is something that is set to keep you chuckling no matter what. Perhaps some of the jokes feel slightly flat – but as the show settles into its run this is something that can only get better and better.
What of the performances? This is a brilliant cast who completely understood the assignment of bringing these zany characters to life. Holding it all together is Andy Nyman as Max Bialystok as the despairing crooked producer who just wants his luck to change, keeps the character well grounded where it could be easy to go over the top. He is well matched by Marc Antolin’s brilliantly sweet and nervous Leo with big dreams – the pair proving to be a great match – particularly in their heartfelt duet ”Til Him’ that is brilliantly brought to life.
They are surrounded by a strong supporting cast including Harry Morrison as the wildly over the top but yet compelling to watch comedy wise Franz, Joanna Woodward as the flirtatious Ulla who stops at nothing to charm Leo to brilliant effect and Trevor Ashley as the over the top Roger DeBris who steals a great few scenes throughout the show. But the whole ensemble is extremely talented.
It may be the first time that The Producers has been in the West End for 20 years, but oh my goodness it is the show that has come back at just the right time to entertain us all. Need a silly, over the top, offensive (in all the right ways) show to see – then come and see The Producers!
By Emma Clarendon
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Rating: ❤️❤️❤️❤️❤️