Review: THE PRODUCERS at Théâtre De Paris

Oh, what a delight it is to dive back into the uproarious world of Mel Brooks' The Producers—or as the French so aptly title it, Les Producteurs—at Théâtre de Paris-Salle Réjane, running from September 25 2025 to January 11 2026. Directed by Alexis Michalik, renowned for Molière-winning works like Edmond, this adaptation of Brooks' 1967 film and the 2001 Broadway hit (12 Tony Awards) transforms the irreverent tale into a vibrant spectacle. The story follows Max Bialystock and Leo Bloom, who scheme to produce a doomed musical about Hitler to scam investors, only for chaos and unexpected success to ensue. With a book by Brooks and Thomas Meehan, and music and lyrics by Brooks, the production poses the question: Is there nothing one can't laugh at? Michalik’s direction answers with a resounding affirmative, blending Susan Stroman’s choreography with French flair. 

The cast, a dynamic ensemble of 16 supported by a seven-piece orchestra led by Thierry Boulanger, elevates the show. Florent Peyre commands as Max Bialystock, his bombastic energy and sharp comic timing infusing the role with Parisian charm, distinct from Nathan Lane’s Broadway blueprint. Alexandre Faitrouni’s Leo Bloom captivates with neurotic vulnerability, his transformation into a confident performer electrifying in song-and-dance numbers. Their chemistry drives the narrative with relentless hilarity. Régis Vallée reprises Franz Liebkind, delivering unhinged Teutonic rants, while Julien Mior’s flamboyant Roger De Bris steals scenes in “Keep It Gay.” Roxane Le Texier’s Ulla dazzles in “When You’ve Got It, Flaunt It,” and Andy Cocq’s Carmen Ghia, alongside Véronique Hatat’s Hold Me-Touch Me and Hervé Lewandowski’s versatile villainy, rounds out a stellar ensemble. Alexandre Bernot’s tenor shines in “Springtime for Hitler.” The crew, including Benoît Urbain on keys and accordion, and the live band’s brass and percussion, amplifies the satire’s infectious energy. 

Compared to the 2021-2023 run at the same venue, which drew 300,000 spectators and won two Molières (Best Musical, Best Director), this revival surpasses its predecessor. The original featured Serge Postigo’s desperate Max, Benoît Cauden’s neurotic Leo, and David Eguren’s campy De Bris, with Léo Maindron’s choreography adding meta-humor. The 2025 production, with its “renewed troupe,” introduces Peyre and Faitrouni for a bolder, brasher dynamic. Holdovers like Vallée, Cocq, Le Texier, Hatat, and Lewandowski ensure continuity, while Mior and Faitrouni , fresh from his tour-de-force performance as Charlie Chaplin in the play Smile, sharpen the satire. The choreography feels tighter, the songs punchier, and the orchestra’s verve enhances the experience. Where the 2022 run was revolutionary for post-pandemic Paris, this iteration amplifies the chaos, resonating deeply in today’s absurd climate. Les Producteurs returns as a funnier, friskier, and more polished spectacle. 

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