Review: THE PRODUCERS at Rochester Opera House

Mel Brooks’ iconic musical, The Producers, is probably the most irreverent, boundary pushing comedy, and highly offensive production to ever hit the stage.

And with that said, it is one of the most entertaining and outrageous extravaganzas ever especially performed by the cast and crew at the Rochester Opera House.

From the moment the overture begins, the audience is whisked into a world where greed and a touch of madness lead to an unexpectedly brilliant disaster and where nothing is off limits to intense roasting, poking fun at, and outright cruel mocking. (Done, of course, with tender loving care as a farce.)

The genius of The Producers lies in its deceptively simple, and absurdly offensive, premise. Fading Broadway producer Max Bialystock (Bill Hartery) and his timid accountant Leo Bloom (Marcus Provost) hatch a scheme to get rich by raising millions for a Broadway show guaranteed to flop, as they pocket the surplus cash from investors.  Their search for the worst play leads them to Franz Liebkind  (Bob Marcus) and his homage to the Third Reich in “Springtime for Hitler,” a musical romp of epic proportions placed in the confines of a grand Broadway stage.  

The plot is a masterclass in comic construction, building from absurd planning to a final, show-stopping number that manages to be a spectacular parody. No group is left unscathed as the humor taunts stereotypical Broadway types, glorifies financial corruption, and spotlights Nazis in their swastika adorned uniforms. And if that were not enough to offend, the show is performed as a cabaret topped off with styles, costumes, scenes and rhetoric that exudes everything that is gay.

The success of the show hinges on the chemistry between Max and Leo, and in this production, the pairing is nothing short of magnetic. Hartery’s Max embodies the character's showmanship with bombastic energy that fills every corner of the stage. His physicality—the wild gestures, the oogling eyes, the explosive pace of the number, “ Betrayed” is played to perfection by Hartery.

Opposite him, Provost provides the perfect foil. His transformation from a neurotic, blanket-clutching accountant to an ambitious, confident showman is pure stage magic culminating in a performance that is both endearing and riotously funny. He sings, dances, and acts with ease.

The strong voices and stage presence of Hartery and Provost drive the show at a thunderous pace. Their performance is a roller coaster ride worth experiencing.  

But some of the best moments in the show come from a talented supporting cast.

Cameron Clements, as the bombshell blonde, Ulla, is perfectly perky, and a precocious comedic siren who dominates the stage. She’s a real show girl bumping and grinding her way through her rendition of  "When You Got It, Flaunt It" with a stellar voice and light as a feather dance moves.

In what could easily be a two person show itself, Brad Reinking as Roger Debris, a more than flamboyant gay director, and Alex Leblanc as Carmen Ghia, an equally gay sidekick,  turn the Third Reich into a gay nightclub. The duo are incredible vocalists and dancers, who perfectly play the precise comic edge that can make or break a farce. Their timing is impeccable, drawing roars of laughter with every line delivery and slapstick bit.  

Marcus is another powerhouse who relishes a vital supporting role as the German playwright. He is clearly a stage veteran that can sell a song, a scene and a one line zinger in record time.

There’s a roster of performers portraying showgirls, showboys, horny old ladies, aspiring actors and a variety of characters that engulf themselves in the antics of the show. They provide non- stop fun in big, brassy numbers and adeptly handle the chores of song, dance and never ending comedy.

Director, Jenry Towle, keeps everything well paced and under control in a production that can get overwhelming. She knows the essential elements of making the show work well and excels at keeping the madness and nuance in check. Doing double duty to his stage performance, Reinking is the show’s choreographer. He wonderfully creates a slew of eye popping dance numbers that allows the cast to stretch their limits.

The set design, while relatively simple, is remarkably effective, transforming from a decrepit office to a Broadway stage with ease thanks to some quick set changes and a series of projection backdrops. 

Brooks’ music and lyrics run the gamut from the inspiring  “We Can Do It”  to the more lyrical, “That Face.” The show's ultimate musical climax, “Springtime for Hitler,” is a send-up of patriotic musicals, that’s both shocking and side-splittingly funny. (Be forwarned—You’ll be humming this tune when you leave the theater!)

The Rochester Opera House has produced a show that is a spectacular blend of high-energy performances with the biting humor of comic legend, Mel Brooks. Just remember that the subject matter contains a heavy dose of adult humor that isn’t appropriate for younger audiences and may not be to the liking of mainstream musical theatergoers.