Review: THE PRODUCERS - A MEL BROOKS MUSICAL at The Candlelight Theatre

THE PRODUCERS - a Mel Brooks Musical - brings the laughs for those not easily offended. 

The new theatrical season for The Candlelight Theatre kicks off with the Mel Brooks hit THE PRODUCERS. I simply describe the show as a hit and without any further superlatives due to, well, the facts. The Broadway show won a record 12 out of 15 Tony award nominations, including Best Musical, Best Book of a Musical (Mel Brooks & Thomas Meehan), Best Original Score (Mel Brooks), Best Actor (Nathan Lane), Best Featured Actor in a Musical (Gary Beach), Best Featured Actress in a Musical (Cady Huffman), Best Direction of a Musical (Susan Stroman), Best Choreography (Susan Stroman), Best Orchestration (Doug Besterman), Best Scenic Design (Robin Wagner), Best Costumes (William Ivey Long), Best Light Design (Peter Kaczorowski). It also made box office history by selling millions of dollarsin tickets before it even opened.  But...THE PRODUCERS, like other Mel Brooks offerings, can illicit awkward and befuddling murmurs  over an audience with its unique in-your-face, no holds bar approach to comedy.

Adapted from Brooks’ 1967 film of the same name, the storyline is that of the very conniving and currently failing Broadway Producer, Max Bialystock’s need to rekindle his success of yesteryear. One day, the very naïve and unsuspecting accountant, Leopold Bloom, visits Max to review the financial records from his last flop. Leo’s off-handed remark that, with the right bookkeeping mechanisms, a producer could make more money with a flop than a hit gives way to Max’s latest scheme – find the worst musical theater piece possible, fraudulently oversell investor interest, have it close on Opening Night, and abscond with the investor money. Good in theory, not in practice, especially if the intended flop turns out to be a smashing success.


 

Stage Director, Joy Anderson, and Music Director, Betsy Conner, have assembled a very capable cast. The mostly didn’t I hear that somewhere else unremarkable score offers a few sparks of creativity with songs, “That Face” and, of course, “Springtime for Hitler.” Regardless of the song, delivery rarely faltered. I attended Opening Night, and am hoping that the grueling tech week schedule was to blame for the less than energetic delivery by some in Act One which threw off dialog pacing. Anderson employs simplistic yet effective stage movements. As choreographer, Anderson lifts the production with energetic, lively and beautiful steps. The tap numbers by Scott Jacobs are delightful. The multiple scene changes are efficient and do not delay or take you out of the moment. Scenic Designer/Scenic Artist, Jeff Reim, creates a credible world for the characters to live within. Lighting plots (Matthew J. Kator) nicely compliment the set design while matching the mood of each scene. Costumes (Timothy Lamont Cannon) are numerous, time period appropriate, well thought out and pleasantly depict the characters. Hair/Wigs/Make-Up are all expertly crafted by Clayton Stacey.

Taking the stage in their reprisals of the lead roles Max Bialystock and Leo Bloom are David Willis and Anthony Connell, respectively. Neither attempt to copy the portrayal of other Bialystocks or Blooms. Each creates an individualized character - Connell choosing to tone down Leo’s whimpering and Willis opting for a not so aggressively loud Max. I’m not certain it fully works with the over-the-top character stylings of Mel Brooks, but it didn’t deter from enjoying the entirety of the production. Of the two, Connell’s portrayal of Leo does more to draw you in with his believable boyish charms. His smooth, crooning vocals are a perfect fit for role of Leo. Willis lacks a certain élan in portraying Max and presents him as more unbridled, frantic schlub than slick, calculating con man. The chemistry between Willis and Connell for the duets “We Can Do It”, “Where Did We Go Right” and “Till Him” is gleeful. Leo’s pseudo-solo “I Wanna Be A Producer” is cute so long as you understand what Mel Brooks was thinking with regard to certain lyrics for certain chorus Accountants. Max’s soliloquy, “Betrayed” is a comedic, fast-paced retelling of all of the events that have taken place so far in the show, including intermission. I can see what Mel Brooks was attempting but, not every artist can pull off the monumental task of literally stopping the momentum of the show for a funny little song. With only four songs left in the show, and the following song being ballad-esque, it’s difficult to get all of the gears moving again. “Prisoner of Love” does it’s best to pick things up and bring the story to an enthusiastic conclusion. The fault lies squarely on the author, composer, producer and directors of the original work and not necessarily with the performers, especially since no one other than they can make changes. But, Broadway authors, composers, producers and directors aren’t creating works for regional and community theaters; they are creating works for the celebrity and Broadway stars that fuel ticket sales.

The supporting roles of Ulla (Mary McAvoy), Franz Liebkind (Andrew Bozzelli), Roger DeBris (Bob Gatchel) and Carmen Ghia (Caleb Tracy) are well-crafted by the artists. Although the character of Ulla is very much a “dumb blonde” role, McAvoy doesn’t fall into the trap of allowing Ulla to be complete vacant. Ms. McAvoy has lovely vocals as well robust acting and dance abilities. Her number “When You Got It, Flaunt It” sets the tone for Ulla while her duet with Connell “That Face” is charming. Bozzelli’s ex-Nazi solider, Franz, is hilarious. Any performer who can keep a straight face while wearing lederhosen, talking to birds and singing songs dedicated to “you know who” is a star. Bob Gatchel and Caleb Tracy understand the assignment of over-the-top Mel Brooks characterizations. They both chew the stage, spit it out, and dance ALL over it! Even though it’s a group song, “Keep It Gay” is owned by Gatchel. The scene leading up to that song and, really any time Gatchel and Tracy are involved, are riotous events. The full cast, you’ve-got-to-be-kidding-me, here’s-what-you’ve-been-waiting-for number “Springtime for Hitler” does not disappoint. When the banners unfurl and the goose-step runs amuck, you certainly know that Mel Brooks’ zaniness is in the building. The ensemble members turn in terrific tidbits of wackiness in all the right places. The old ladies’ dance routine with walkers is so much fun!  







The concept of swindling from investors isn’t an original plot device. What is original are the twists chosen by Mel Brooks including (1) making the vast majority of the investors kindly senior citizen ladies who just happen to get their compression stockings curled by Max on a regular basis, and (2) making the chosen would be flop musical one written by an ex-Nazi soldier and entitled Springtime for Hitler: A Gay Romp with Adolf and Eva and Berchtesgaden. There are a few other prickly bits with it, including the stereotypical bombshell blonde female, overly flamboyant gay men, and caricatures of Jews. However, if you are someone who can digest irreverent humor and biting satire, then Mel Brooks’ THE PRODUCERS won’t offend. But, for the small group of people who bristle at entertainment where “taboo” topics and “politically or socially incorrect” situations are utilized, then this show isn’t meant for you, and it would be best for you to stay home and not spoil other people’s fun. Yes, in today’s world view concept THE PRODUCERS leans towards inappropriateness, but only in part and not even close to warranting protest or cancellation.

The Producers - A Mel Brooks Musical
Book by Mel Brooks & Thomas Meehan
Music & Lyrics by Mel Brooks
Original direction and choreography by Susan Stroman

Stage Director: Jody Anderson
Music Director: Betsy Conner
The Candlelight Theatre
2208 Millers Road
Wilmington, DE 19810
(302) 475-2313
www.candlelighttheatredelaware.com