BWW Reviews: Woodlawn Theatre's THE PRODUCERS Produces Laugh After Laugh

I'm sad to report that I may have missed several moments of The Producers, currently playing at San Antonio's Woodlawn Theatre. The downside of having to wipe tears of laughter out of your eyes is that you miss a few seconds of action. Of course, that's hardly a complaint about this solid, polished, and professional production. Woodlawn Theatre's current production of The Producers illustrates exactly why the show was such a hit when it opened in 2001 and why it continues to please audiences. Despite the occasional offensiveness and cheekiness, the show is an enjoyable laugh riot that you can't help but love.

The ridiculous plot by book writers Mel Brooks and Thomas Meehan involves a has-been Broadway producer, Max Bialystock, and a nerdy accountant/aspiring producer, Leo Bloom, who realize that producers could make more money with a flop if they raise more than enough money to mount the production and pocket the excess. Their scheme really takes off when they find what they think will be a surefire flop: Springtime for Hitler.

Director Vivienne Elborne keeps the show pointedly focused on generating laughs. She's created a silly, slapsticky world that is downright charming and entertaining at every turn. She also brilliantly has her Max Bialystock (Greg Hinojosa) and Leo Bloom (Walter Songer) play their roles more naturally rather than over-the-top, allowing the zany supporting roles to really pop. That's not to say that Hinojosa or Songer don't turn in strong performances. They certainly do, but they're not scenery chewers like original Broadway cast members Nathan Lane and Matthew Broderick. Hinojosa's Max Bialystock is moody, self-deprecating and an infectious mix of Zero Mostel and Rodney Dangerfield, a combination that really pays off in his Act II solo, "Betrayed." And Walter Songer once again proves that he can play nerdy with ease, but this time he also gets to show off some Fred Astaire-like dancing in a few numbers, namely "I Want to Be a Producer" and "That Face."

But as I mentioned, the supporting cast members pop and sizzle with energy and easily get the most laughs. Paige Blend plays Ulla, the Swedish secretary/receptionist, with a mix of cutesy girl next door and dangerous sexpot who has body for days, a fantastic voice, and incredible dancing skills. I was not shocked during intermission when I overhead two young men stating how they desperately needed to plan a trip to Sweden after seeing Ms. Blend's number "When You've Got It, Flaunt It." Incredibly tall and ruggedly handsome Chris Berry may be physically more suited to a leading man character rather than that of Roger de Bris, the cross-dressing, flamboyant, and campy director of Springtime for Hitler, but Berry absolutely nails the role. His appearance only enhances the silliness of the character, and his strong baritone voice is superb. As Carmen Giya, Roger's "common law assistant," Michael J. Gonzalez is deliciously outrageous and steels every scene he's in. Kevin Murray's turn as Franz Liebkind, the Nazi/playwright, is side-splittingly funny, Dave Cortez is hilarious in his variety of cameo roles, and the ensemble is filled with gifted triple threats.

The production's creative team greatly ads to the quality of the production as well. Christopher Rodriguez's choreography sparkles and borrows just enough from the original Broadway choreography from Susan Stroman. Yes, some of Stroman's iconic choreography like the little old ladies who tap dance with their walkers is included here, but the majority of the choreography is Rodriguez's own, and it blends seamlessly with the original Stroman steps. Chris Muenchow's lighting is perfectly mated to a show that is both love letter to and send up of Broadway musicals, and Rose Kennedy's costumes, particularly the dresses worn by Ulla and the over the top showgirl outfits showcased in the "Springtime for Hitler" number, are flawless. While Kurt Wehner's set may not be as large or elaborate as the original, it's still delightful and effective, and his sound design is fantastic. While previous Woodlawn shows have had sound issues, the sound here is crisp and clean.

With The Producers, the Woodlawn Theatre raises the bar even further. This is a theater company that consistently produces top-notch entertainment and deserves to be a staple of San Antonio. If I had to make one minor critique, it would be that after previous productions like 25^th Annual Putnam County Spelling Bee, The Full Monty, and now The Producers, we know Woodlawn can do funny. It's been a while since they've done a musical drama rather than a musical comedy, and with Young Frankenstein and Bloody Bloody Andrew Jackson coming up later this season, it looks like it will be a while before Woodlawn does a weightier show. Still, that's a very minor criticism, and given the incredible comedic talent at their disposal, it's no wonder why Woodlawn does so many comedies. As Ulla says, when you've got it, flaunt it.

Top Photo (L to R): Greg Hinojosa, Paige Blend, and Walter Songer in THE PRODUCERS.

Bottom Photo: Paige Blend (top center), Chres Berry (bottom center), and the ensemble of THE PRODUCERS.

Run time: Approximately 2 hours and 40 minutes including one 15 minute intermission.

THE PRODUCERS is recommended for mature audiences.

THE PRODUCERS plays the Woodlawn Theatre at 1920 Fredricksburg Road, San Antonio, 78201 now thru May 5^th. Performances are Fridays and Saturdays at 7:30pm and Sundays at 3pm.

Tickets are $23 for adults, $20 for seniors/military, and $15 for children/students.

For tickets and information, please visit www.woodlawntheatre.com

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