BWW Reviews: MacTheatre Has Definitely Got It and Flaunts It in THE PRODUCERS

"I really, really miss high school theatre."

This was the first thought I had as I entered, sat and watched, and exited McCallum Fine Arts Academy' production of The Producers. Because I first-handedly know how much work- and how much fun- it is to spend countless hours rehearsing (need to interject that these dedicated students spent their summer rehearsing for this show), running the show countless times, and making several costume and set changes, showstopping numbers, and putting on a beloved Broadway musical on their high school stage look easy. And MacTheatre pulled it off.

The Producers is no stranger to the Broadway world. Premiering in movie theatres in 1968, the story of down-on-his-luck Broadway producer Max Bialystock, who employs nervous, self-doubting, wannabe producer Leopold Bloom to help him put on a flop to walk away with 2 million dollars, went on to premiere on Broadway in 2001. With a book (co-written by Thomas Meehan) and lyrics by the legendary Mel Brooks, Broadway original cast members Nathan Lane and Matthew Broderick reprised their roles in the 2005 movie remake.

In all fairness, I must admit I had high expectations before I was even handed my Playbill. Dubbed a Fine Arts Academy, I was a) thrilled that such a high school exists where theatre is made a priority and not shoved aside as budget cuts diminish theatre departments across the country and b) already impressed with this school's track record. Not many high schools can pull of Les Miserables, much less premiere the just-left Broadway musical Bonnie and Clyde, and have Ghost: The Musical on the roster for later this season. Not to mention- The Producers, while deemed a classic, is not necessarily what you would deem "family friendly," and coming from a high school where performing Frank Wedekind's Spring Awakening (the play, not the musical) as a One-Act was the closest thing to taboo, it was thrilling to be seated in a high school that not only had an impressive Broadway repertoire, but was liberal enough to forgo political correctness in place of a showstopping production.

And then the curtain opened. And, as I was during Summer Stock Austin's Chicago, I was blown away by these talented high schoolers. At the risk of overselling the show, I must clarify: Broadway-ready, they are not. However, Broadway-bound, many of them are- starting with the musical's lead, Max Bialystock, played by senior musical theatre major (yes, this high school has majors) Jacob Roberts-Miller. Though a bit shaky in his first number, "The King of Broadway" (which, in his defense, was the first time being performed in front of an audience, and occurred about 5 minutes after the curtain opened), Roberts-Miller proved more than deserving of his starring role, and grew in energy and impressiveness throughout the show. By his second number, "We Can Do It," The Audience (and I) was in love. Roberts-Miller provided the perfect combination of wit, sarcasm, and cynicism that produced a hilarious, relatable, and engaging Bialystock. By his eleven o'clock number, "Betrayed," I was more convinced that this kid is going places.

Only half of the entertaining duo, Bialystock's fellow producer, Leo Bloom, played by junior Dylan Tacker, gave The Audience the nervous, anxious, and loveable side of the team. While the neurosis felt a bit forced at times, Tacker's natural chemistry with Roberts-Miller was endearing. "That Face," sung with Hannah McEvilly's charming Ulla, was one of Tacker's most memorable numbers, giving The Audience the humor, sensitivity, and musical talent that is Leo Bloom. Like his character, Tacker seemed to grow in confidence and energy as the show progressed, leaving The Audience with a notable performance. A dynamic actor (past credits include Les Miz's Javert), his chemistry with McEvilly was commendable. McEvilly's Ulla, the Swedish-speaking, singing and dancing love-interest, played wonderfully opposite both male leads. Despite a Swedish accident that went in-and-out (come on, they're in high school, and lord knows I can't do better), McEvilly's impressive "If You Got it, Flaunt It," completed a loveable Ulla that was nothing short of charming.

Peter Richard's Franz, however, defines showstopper. The German, neo-Nazi with perhaps the worst play or ever written (or so Bialystock and Bloom think), Springtime for Hitler, steals the show. With the perfect amount of irony, Richards turns this (on paper) offensive and shocking character into a hilarious and, somehow loveable, playwright that was intended. And The Audience ate it up. Kendrick Knight and Victor Mata gave notable performances as Roger, a director who "couldn't direct you to the bathroom," Roger De Bris and his assistant/lover Carmen, respectively. Knight's performance as Roger as Hitler gave one of several laugh-out-loud, impressive moments of the evening.

Joshua Denning, who recreated Susan Stroman's original direction and choreography per the Broadway production, deserves the same standing ovation the cast received Thursday evening. The energetic, triple-threat ensemble contributed immensely to the wow-factor of the show, pulling off arguably difficult choreography as if it were easy. Some favorite dance-centric numbers included "I Wanna Be a Producer," and the play-within-a-play, "Springtime for Hitler."

As I said before (in the least pathetic way, of course), this production really made me miss high school theatre (hey McCallum...need an understudy?). The passion these kids have for musical theatre is amazing, and their dedication to putting on another impressive show was obvious. Not perfect, but not lacking much, the kids at McCallum Fine Arts Academy are Exhibit A when it comes to keeping arts in schools, and keeping talented students on the track to Broadway.